PN 3155 
.R57 
Copy 1 









LIBRARY OF CONGRESS. 

©|#p* ©xtjnjrig^i If xu 

She\f 

UNITED STATES OF AMERICA. 








Copyright 1SS2, by Roorbach <fe Co. 



THE ACTORS' MAKE-UP BOX. 



Containing the paints most necessary for the actor in " making-up." These paints, 
being of a greasy nature, are very effective on the stage, as they are almost impervious 
to perspiration, thus enabling the performer to go through his part, however exciting, 
without the fear of destroying his •« make-up" by his exertions. They are also superior 
to any other paints on account of being better able to graduate the lights and shades of 
the "character" and old men parts. This box contains the following necessary colors, 
with full instructions, Light Flesh, Dark Flesh, Brown, Black, White, Blue 
and Carmine Price 75 cents. 



GREASE PAINTS. 

Grease Paints are now used throughout the profession, as they are not affected by 
perspiration, and are easily removed. 

THE FOLLOWING COLORS ARE PUT UP IN STICKS FOUR INCHES LONG, 



Price, 23 

No. 1. Very Pale Flesh Color. 

No. 2. Pale Juvenile. 

No. 3. Robust Juvenile. 

No. 4. Extra Robust Juvenile. 

No. 5. Extra Robust Character. 

No. 6. Sunburnt, Tanned, or Indian. 

No. 7. Chinese. 

No. 8. Mulatto. 

No. 9. Fair Character. 

No. 10. Sallow Character. 

No. 11. Juvenile Rouge. 



Cents Each. 

No. 12. Black, for lining the eyebrows and 

eyelids. 
No. 13. Gipsy. 

No. 14. White, for underlining, or empha- 
sizing wrinkles. 
No. 15. Old-man's Rouge. 
No. 16. Dark-grey for deepening or hollow- 
ing eyes, cheeks, etc. in large theatres. 
No. 17. Light-grey for deepening or hollow- 
ing eyes, cheeks, etc., in small theatres. 
No. 18. Dark-brown, for making wrinkles, 
etc., in large theatres. 



TABLEAU LIGHTS. 
Red, Green and White. Price, 25 cts. each, or Fiye for $1.00. 

For use in Theatres, PrivateTheatricals, Parlor Tableaux, Illuminations, and for any 
purpose where a brilliant effect is desired. They are especially fine, as they burn 
with as little smoke as any preparation for this purpose, and give off no disagreeable 
gases, thus especially adapting them to indoor exhibitions. These lights are dazzling 
in their brilliancy, requiring no reflectors. 

Either of the above will be sold in bulk. Price, $1. ^5 per pound ; $1.0!) per half 
pound. Put up in half-pound packages. Not less than half a pound of either color will 
be sold in bulk. 



MAGNESIUM TABLEAU LIGHTS. 

This is a white light, suitable for moonlight or statuary. This light is so intense that 
it causes a gas flame to cast a shadow. Unequaled in beauty and brilliancv. 

Price 25 Cts. each. Five for $1.00. 



LIGHTNING FOR PRIVATE THEATRICALS. 

Box containing the necessary material, and full instructions for producing the same 
without danger. 

Price, per box 25 cts. 

Sent by Mail on receipt of the price, by 

ROOK BACH & CO., 

No. O Murray Street, New York. 



What Shall We Act? 



TWO HUNDRED AND FIFTY PLATS 
FROM WHICH TO CHOOSE, 

WITH 

HINTS ON SCENE PAINTING, 
MAKING-UP, Etc. 

/ 

\ 




KEW YORK: 
ROORBACK & CO,, PUBLISHERS. 



CONTENTS. 



PAGE, 

Hints to Beginners . . .. . . ■. . . . * 3 

The Stage.... . t 5 

Make -Up 7 

Scene Painting. 8 

Analysis of Plats 13 

Classified Index to Plays — 206 



Note. — Any of the Plays mentioned in this book will be mailed 
to any address, by the Publishers, on receipt of the price,. 15 cents 
each. 



Copyright, 1882, by Roorbach CJov 



2 



"WHAT SHALL WE ACT? 



HINTS TO BEGINNERS. 

When people have decided on getting up Amateur Theatricals 
the question naturally follows, " What shall we act?" This 
handbook is intended to simplify the answer, by showing at a 
glance the requisites and the difficulties of over two hundred 
plays, all suited to amateur representation. A great many ex- 
cellent and otherwise suitable plays have some difficult scenery 
or unobtainable property, which renders them impossible to be 
performed on an amateur stage ; and nothing, in a small way, is 
more provoking than, after wading through a five-act comedy, 
to find, perhaps in the last scene, that a ship is introduced, or a 
live horse, or a water-fall, or some other equally embarrassing 
and impossible detail. Amateur theatricals are generally got up 
in a hurry, and the managers thereof have usually a great deal to 
do, and may be glad to be saved running over a quantity of plays 
in order to select one suited to their company. The plan usually 
followed in private theatricals is to secure two or three really 
good actors, choose a play which will bring out their strong 
points, and fill up the cast with volunteers. It is to these novices 
that I would give a few words of explanation of terms constantly 
used in stage directions, answering here a question that has often, 
been asked me, " Oh, can you tell me what E. TT. E. means "? " and' 
also a few hints as to rules absolutely necessary to be observe " 
in order to preseive the unity of the piece. The stars are usually 
all right ; they are used to acting, and, besides, their parts give 
them plenty to do, and they naturally take a sufficient interest 
in the plot to appear to do so : and this is where amateurs with 
small parts generally fail. They have, perhaps, to be for a long 
time on the stage with little or nothing to say ; but what is going 



4 



INTRODUCTION'. 



on among the other actors may be on a subject which they 
should find interesting. Ton would uot talk to your neighbor 
about the weather, for instance, while the marriage of your 
sister was being arranged, or gaze round the house in search of 
acquaintance while the reconciliation of your long-lost father and 
mother was going on. I have known beginners make their by- 
play more visible and audible than the main part of the per- 
formance ; and nothing can be worse than this. Their question 
is always, " But what am I to do ? I can't do nothing." The 
answer that naturally occurs is, " "Why not? You do nothing 
very often in private life, and dont seem to find it difficult. If 
you are not wanted in the front, get away to the back and efface 
yourselves — pretend to talk, or look at a book, or at each other : 
but don r t talk out loud, for the audiences at private theatricals 
are generally so near that it makes a confused murmur. If you 
are supposed to be interested in what is going on, appear, at all 
events, to listen to it : otherwise you convey to the audience the 
fact — which it is your art to suppress— that you have heard it 
very often already, and know all about it." 

The idea that you can pick up your parts at rehearsals, or catch 
up the words from the prompter, is a very great mistake. You 
should have a thorough knowledge of the words before the 
rehearsals commence. The rehearsals can then be devoted to 
u business," and to the positions of the various actors on the 
stage. It is advisable to get some friend — artistic if possible — to 
sit in th^e centre of where the audience will be when the critical 
night arrives, and to request him to stop the rehearsal when the 
actors get into a confused mass. Judicious grouping is most 
important to the well-going of a play ; and every scene (espe- 
cially at the end of each act) should form a picture. For this 
reason, as color has to be considered in a picture as well as form, 
it is necessary to ascertain what the performers, especially the 
ladies* mean to wear; and to persuade them to adopt colors 
which will go well with the background and with each other. 
As the scenery is very frequently painted on the spot by one of 
the company, it may often be toned so as to harmonize with the 
dresses. 

Another point where beginners often fail is, they do not speak 
loud enough. For this reason I strongly advise them to act at 



INTRODUCTION. 



5 



rehearsals, and to get a friend in the back row to tell them 
candidly whether they can be heard. Old stagers are in the 
habit of rushing through their words, and only giving the cues 
distinctly. This is all very well for them, but it does not answer 
for beginners ; and they will find the more they play their parts 
at rehearsal as they mean to play them at the performance, the 
more likely they are to be successful. The slightest part may be 
played well or badly, and you may light up a character in a 
manner not expressed by the stage directions by merely thinking 
it well over and considering what it would be natural for a per- 
son in such circumstances to do, and doing it. 



E. IT. E. 
E. 3 E. 
E. 2E. 

E. 1. E 



THE STAGE. 

E. C. D. ' C. D. L. 0. D 



L. U. E. 
L. 3E. 
L. 2E. 
L. 1 E. 



0. P. 



E. 



POSITION OF ACTORS. 
E. C. C. L. C. 



P. S. 



C. D. Centre Door. 
E. U. E. Eight Upper Entrance. 
E. 3 E. Eight 'Third Entrance. 
E. 2 E. Eight Sec'd Entrance. 
E. 1 E. Eight First Entrance. 

0. P. Opposite Prompt Side. 



THE STAGE. 

E. C. D. 



L. C. D. 
L. TJ. E. 
L. 3 E. 
L. 2 E. 
L. 1 E. 
P. S. 



Eight Centre Door. 
Left Centre Door. 
Left Upper Entrance. 
Left Third Entrance. 
Left Second Entrance. 
Left First Entrance. 
Prompt Side. 



POSITION OF .ACTORS. 
E. Eight. E. C. Eight Centre. C, Centre. L. C. Left Centre. 
L. Left. 



Farces, as a rule, are more troublesome to get up than 
comediettas, from the quantity of small properties required. 
The prompter has as much to do in some farces as any of the 



6 



INTRODUCTION. 



actors (without counting promp tin g, which ought not to be re- 
quired), all the noises behind the scenes being managed by him. 
The rattle of breaking crockery is imitated by sewing up old 
broken plates, etc., in a hamper and dropping it. In " Our Wife'' 
a storm comes on suddenly ; the thunder may be imitated by 
shaking a thin sheet of iron, the patter of rain by peas dropping 
from one end to the other of a tin box partially divided by ledges ; 
the noise of the window bursting in by a " crash " filled with bits 
of tin. Where the properties required are very numerous, it is 
good plan to tell off one person as " property man," who will make 
lists of everything that is wanted, collect them before the play 
begins, and see that each person has his own properties before 
going on. It is advisable to rehearse as much as possible with 
properties. 

The prompter's copy of the play should be interleaved with 
blank paper, on which he makes nptes of all he has to do ; i. e., 
ringing bells and all incidental noises ; warning the various actors 
and actresses when they have to appear. It is well to make a 
note of their different entrances about half a page before they 
actually occur, and then, if there is a call-boy in the company, 
he is sent to warn them to be on the alert. Amateurs generally 
have to look out for themselves in these matters, and they ought 
to watch carefully, as nothing is more annoying to the actors on 
the stage than a stage-wait. In some plays dresses have to be 
changed during the course of a scene— everything should be 
placed ready beforehand, and a competent person should be in 
waiting to assist the actor or actress. The changing should also 
be rehearsed, and the time noted. If the time allowed is very 
short, it is as well to request the actors to play slowly during the 
interval, to introduce business, or even to " gag " to little. This 
ugly but useful word means simply to add something of your own 
to the author's words ; and, as a general rule, it may be said that 
it is better to stick to the text. Of course it is frequently ad- 
visable to leave out a few sentences of the dialogue ; but it is 
seldom an advantage to add anything to it, except in some rare 
instances where the sentence is so doubtfully worded as to leave 
the auditors in doubt as to the meaning of it. 

The ' ' tag " at the end of most plays must be left out by amateurs 
who only wish their pieces to run two or three nights and there- 



INTRODUCTION. 



7 



fore need not make an appeal to the audience to "come again" 
indefinitely. The play generally ends quite as well without it ; 
if it does not, the principal performer (who would speak the tag) 
can generally substitute something else for it which will make an 
effective ending to the piece. Many modern plays are written 
without any tag. 

I It may be well to remember, when fixing on the pieces to be 
performed, that amateurs rarely take as long in acting a play as 
professionals do, except where there are several scenes; and 
then the extra time consumed by unprofessional scene -shifters 
brings it up to the time mentioned at the beginning of each play ; 
but where there is only one scene, as in a farce, where pro- 
fessionals have written down an hour, amateurs might usually 
write down three-quarters, the difference being that they speak 
quicker, anjj. have not always nerve enough to " go" in for much 
business. I imagine all actors know what "business" means, it 
being as essential a part of acting as speaking is : it is, in fact, 
the doing anything in contradistinction to speaking it. Business 
is not by any means essentially comic ; it may be sentimental, 
and in some cases is unspeakingly touching. Of course there 
may be business in putting up an umbrella, but so there is — and 
an unpleasant amount of it — in a dying scene. To be effective, 
business must be as realistic as a modern pre-Eaffaelite picture. 
If you have to play a gardener (as, for instance, the gardener hi 
" Sweethearts ; '), mark the way in which a gardener does prepare 
his bass for tying up his plants, the way he handles the parcel — a 
young tree tied up— the comfortable manner he disposes himself 
on the ladder for a gossip instead of work, even the way he 
moistens his hands when he does decide to dig — ail of that is 
business. A butler, a milliner, a cobbler, all have tricks of man- 
ner ; and human nature itself has a good many tricks which 
speak to the eye more quickly than words do to the ear. 



MAKE-UP. 



If the audience is very near it is a great mistake to make up the 
face too much ; at least the wrinkles and crow's-feet should not 



s 



INTRODUCTION. 



be too marked. For ladies, a little box of grease paints (sold by 
the publishers of this book, containing six colors) will be found 
very convenient ; otherwise the face can be simply made np as 
follows : First apply cold cream or glycerine, then powder the 
face with violet powder or pearl powder, then apply the ronge 
delicately with a hare's foot, and dust a little powder over it. 
Eyebrows usually require darkening and penciling out, and a 
very delicate line of carmine under the eye has the effect of 
brightening it. Liquid blanc de perle or light flesh grease-paint 
can be used for whitening the hands and arms. 

For an old man's face, an ordinary camel's-hair brush with 
Indian ink and a little Yenetian red answers very well. Wrinkle 
up the forehead, and then go over all the natural lines — not too 
heavily. Crow's-feet are treated in the same manner; if the 
actor has not yet acquired any, they can be copied Jrom some 
obliging elderly person. If the character represented is an indi- 
vidual in shirt sleeves — as a laboring man, a gardener, or a 
mechanic— do not forget to make up the arms as well as the 
hands. For bronzed or ruddy skins, some of the red earth used 
in distemper painting looks very well. Of course bald heads, 
grey wigs, and various sorts of whiskers, moustaches, or beards, 
add greatly to the making-up of gentlemen. When ladies con- 
sent to take old maid parts (often excellent characters ) it is to be 
hoped they will not object to making-up and dressing accord- 
ingly ; and the same may be said to gentlemen who good naturedly 
play seedy villains, like Krux or Eandall. 



SCENE-PAINTING-. 

The materials required are whiting, size, powder colors, char- , 
coal, and canvas or calico. The former is much the best and the 
strongest, but the latter is lighter, and, where not exposed to 
much wear and tear, is sufficiently strong. It is, however, not 
so pleasant for painting on and is more inclined to crease. It 
must be joined horizontally; four widths are high enough for any 
amateur stage — twelve feet. If your stage is six yards wide 
you would require twen+y-four yards, and so on. You must re- 



INTRODUCTION. 



9 



member that sizing will make the canvas shrink a little! Nail 
the canvas on to a wall ; if you have no available wall sufficiently 
high you must paint the top half first, rolling the lower half to 
keep it from being splashed. Then you roll or turn over the top 
half when finished, raising the lower part into its place. "When 
you have to draw a design piecemeal in this way, it is absolutely 
necessary to make a sketch of the scene to copy from. You can 
always find a suitable scene in an art journal or print of some 
kind, or photograph. Copy this roughly on a larger scale on a 
sheet of drawing-paper. Divide this into blocks — the horizontal 
seams on your canvas serve as a guide ; if there are three seams 
draw three equidistant lines across your sketch, then rule perpen- 
dicular lines, five if your cloth is six yards across ; rule similar 
hues across the sketch, and draw the contents of each block on 
to the canvas. "With very little knowledge of drawing, and none 
of perspective, a fairly correct drawing can be accomplished. 
After nailing the cloth up the next step is to size it. Melt four 
or five pounds of size with very little water; steep about a dozen 
pounds of whiting in a pan of water for an hour ; pour off all 
the water, and pour on the hot size ; then cover the whole of the 
canvas with the mixture. This is called " priming." The 
quickest and easiest way of doing it is to use a common white- 
wash brush. Then draw the design in charcoal— of course you 
must wait till the priming is dry — the last process is to color the 
design. Use a two-tie or distemper brush, and for details use 
smaller hog-hair brushes— the same that are used for ordinary 
house-painting. The colors are bought in powder; they are 
damped with water, and then mixed with size and whiting, each 
color, of course, in a separate pipkin ; a palette is made of a piece 
of wood divided into compartments by little wooden ledges, and 
painted with white oil-paint some days before you require to use 
it. If there is no time for all this, an old tray will serve for a 
temporary palette very well. The method of putting on the 
colors in distemper differs from oil and water-color painting. In 
the latter, one usually lays in large flat washes, gradually work- 
ing in the darker and stronger colors ; in oils, the darker tones 
make the ground-work, and they are brightened up by degrees : 
but in distemper the whole process should be as nearly as possi- 
ble completed in the " first intention/' Keep the colors of a 



10 



INTRODUCTION. 



greyish tone, and let them merge into each other; a few dark 
touches afterwards will give sufficient distinctness. In an out- 
door scene begin with the sky, then the distant country, blue and 
hazy, greys and yellows in the middle distance, getting warm in 
the foreground. Thumb in the effects broadly with a large brush, 
but do not fill it very full, or the paint will run. Remember that 
the scene has to be viewed by gas or lamplight, so do not be 
afraid of the yellows, but avoid cold greens. A very pretty scene 
is a wood with a path through it (such as is required in " ]STo 
Song, no Supper," and the "avenue of palms" in "Palace of 
Truth "), the evening light coming in low from the back and fall- 
ing golden on the grass, red on the stems of the fir-trees. As you 
only see twelve feet or so of the trunks of the nearest trees, of 
course you will not draw their tops ; but if the ground dips you 
may put in the tops of trees further off to make a background ; 
under the trees, ferns and branches. A garden is a very usual 
scene. A terrace may be introduced in the foreground, with 
steps down into the garden. This is a good plan if the stage is 
low, as it gives at all events the idea of air. Interiors are gener- 
ally painted in panels in two shades, as pink and brown, amber 
and chocolate, two shades of grey, etc. A dado and frieze are 
improvements, and the skirting-board should not be left out. 
Paint the light color first and stencil the dark upon it. For a tem- 
porary thing like this tin stencil-plates are not needed ; cartridge 
paper, or strong brown paper varnished, I find answer very well. 
The pattern is drawn on the paper, cut out, and then the paper is 
varnished a day or two before it is used. Dip the stencil-brush 
into the distemper, which must hardly be moist : then hold it, 
not like a paint-brush, but a dagger, and dab it on. 

A knowledge of perspective is most useful in scene-painting, 
but it cannot be acquired in a moment. The following hints 
may serve as a guide. 

Parallel Perspective.— -Find the point of sight. I generally 
place it on the lowest seam, about the middle. It should be the 
height of the eye. The spectators are sitting ; besides which the 
stage is raised. If the stage is not raised, place the P. S. higher. 
All the lines vanish in this P. S. Drive in a clout nail, tie a long 
piece of string to it, conduct it to your comers of buildings, etc,, 
and drew your lines accordingly. On the wings all lines below 



INTROBIJCTIOK. 



11 



the horizontal line should be drawn parallel to the plane of the 
pictur e j i. e. they should not be drawn to the vanishing point, 
P. S. It is a great advantage to have a stage sloping down to 
the front. It deceives the spectator by leading up the eye to a 
false perspective line, which makes the stage appear much deeper 
than it actually is. 

Angular Perspective. — As in a street scene, which slants cor- 
nerwise from the audience. It would be perfectly impossible to find 
the vanishing points in the usual manner — outside the picture ; 
the canvas cloth being probably between^twenty and thirty feet 
wide, it would require a much longer wall than most people have 
at their disposal on which to continue the horizontal line and find 
the points of distance and vanishing points. The method usually 
adopted by artists is a much simpler one, and is correct enough 
for scene-painting. Draw a line from the top to the bottom of 
the picture through the point of sight ; divide the space under 
the horizontal line into any number of equal parts— say four ; 
every two of these spaces must be divided into three at the edge 
of the picture. Number them 1, 2, 3, 4, etc. Do the same at 
each edge of the picture ; draw lines from 1 to 1, from 2 to 2, and 
so on. Do the same above the horizontal line. Make all the 
lines in the picture correspond with these .lines. For angular 
perspective do not place the point of sight in the centre of the 
horizontal line, but nearer either side. If placed in the centre it 
gives a very stiff effect. 







5 




5 

4- 




4 


■5 
4 


3- 
2- 




2 ~~~ ^ 


-3 
-2 


i - 


HORIZONTAL LINE P 


S 


1 


l. 






■1 


2- 
3- 
4- 
5- 

e\ 






-2 
■3 




4 -~~- ~~~ " 


4 



To Pounce a Design. — It is sometimes convenient when the 
same design is repeated several times, in decorative interiors, to 
pounce the pattern. Draw half the design on a piece of paper. 



12 



INTRODUCTION. 



a good deal larger than the design ; fold it and prick the paper, 
Hold this qnite straight against the scene, and dust it over with 
the pounce-bag (made of canvas, or a stocking rilled with powder 
color). A distinct trace of the design will he left on the canvas, 
when it can he gone over or filled in with paint as desired. 

The sheet of canvas is called a flat. "When there is a door cut 
in it, or French windows, a hacking will be required to hide the 
wall of the room. It is merely a piece of canvas a good deal 
larger than the opening, plac ed in a frame or nailed on to the 
wall. It generally represents a terrace and a garden, or park> 
sometimes a sea view. A strong light should be thrown on it, 
otherwise the flat will shadow it. Borders, or flies, are strips of 
canvas taken across the top of the stage. For interiors they are 
left white or painted pale grey ; for garden scenes, trellis-work 
with creepers look pretty. If trees are painted on the wings 
some of the branches may be continued on the borders. If the 
scene is a cave, of course the rocks are painted up the wings and 
along the border; and "profile 'Ms a great addition both for 
rocks and trees. It consists of pieces of pasteboard cut out and 
nailed on to the wooden edge of the wings, painted to correspond 
— as branches of trees, foliage, etc. It breaks the hard straight line 
of the edge of the wings — a line never found in nature, and only 
suitable to panels in interiors. If the wings represent columns of a 
portico, or any florid architecture, "profile " is indispensable to 
represent the entablature, acanthus leaves, and other ornaments. 

In rocky scenes (as the cave scene in "KandalTs Thumb 
two rows of low rocks should overlap each other, so as to hide 

the boards of the floor of the 
stage. They are made of 
strong pasteboard fixed into 
narrow pieces of wood. One 
long piece right across the stage (just in front of the footlights) will 
do, but two short pieces look better. Of course they are painted in 
shades of brown and grey, and sea-weed may be added. When 
flower-beds have to be " made-out " on the stage it is best to have 
them arranged in low wooden trays of the required shapes, painted 
green, so that they can be removed on and off bodily. It is not 
advisable to have these made-out beds unless the stage is a toler- 
ably large one. 




%* Any of the following named Plays will be sent by mail on receipt of the price, 
15 cents each. 



ANALYSTS OF PLAYS. 



ADVICE GBATXS * 
A Farce in One Act, by Charles Dance, 

Time in representation, forty minutes. 

Scene. — An apartment in Eventide's house. Centre window at back, open la 
floor, curtains to it to draw together. Veranda outside. View of the sea 
beyond, onjlat. 

CHARACTERS. 

Edmund. Mrs. Eventide. 

Grimes. Ellen. 

COSTUMES. 

Odbody.— Tight nankeen pantaloons, Waterloo blue square short-tailed 
cut coat, light waistcoat, light neckerchief, red natural wig, drab hat, black 
pumps, and white silk stockings. 

Eventide.— Dark blue square cut coat, white waistcoat, drab breeches, 
white silk stockings, and old men's shoes, white neckerchief, bald grey- 
curled wig. 

Edmund. — White trousers and waistcoat ; blue coat, metal buttons ; black 
ribbon round the neck, and shirt collar turned down ; pumps and silk 
stockings. 

Grimes. — Heavy drab livery. 

Mrs. Eventide. — Pink slip and body, with white muslin over, trimmed 
with pink ; lace cap, etc. 

Ellen. — Blue slip and body, with white net over, trimmed with blue ; 
ribbon in the hair. 

Mr. and Mrs, Eventide and their son Edmund are each bent on 
having their own way. In the midst of wrangling, to them 
enters old Mr. Odbody and his ward Ellen, whom he designs to 
marry, Mr. Odbody's peculiarity consists in rinding out what 
each person wants to do and then advising them to do it. In 
their difficulties the entire Eventide family, including the servant, 
Grimes, go to him one by one and ask his advice, and as they all 
follow it faithfully, things get into a most comical muddle. Mr. 
Odbody falls into disgrace, and sees Edmund carry off his ward 
almost under his nose. Things are amicably settled by the mar- 



* All Plays marked with a (*) have, in the front, a list of the properties 
required, and many of them have also diagrams showing how the stage 
should be set. 



Odbody. 
Eventide. 



14 



ANALYSIS OF PLAYS. 



riage of the young people. Mrs. Eventide, who is always invent- 
ing imaginary conversations, is an amnsing character. ' The cos- 
tumes are given as they were nsed when the play was originally 
produced^ but it is not necessary to conform to them ; they "can be 
varied to suit the performer. 



THE 2ESTHETXO COUSIN ; 
OR CUE UTOPIA ; ITS RISE AND FALL. 
A Comedietta in Two Acts. 

Time in representation, about one hour. Scene, a drawing-room. 
CHABACTERS, 

Poly Bell,, Bory Eiderdown. Mrs. Eiderdowk. 

Cook. 

COSTUMES. 

Poly Bell.— Tight-fitting velvet suit and a Roman toga. 
Rory Eiderdown. — Riding costume, dinner dress and a hunting dress. 
r Mrs. Eiderdown. — Silk dress elaborately trimmed with lace, and a loose 

aesthetic robe and veil. 
Cook. — Cook's dress. 

This play is excellently well adapted to amateur efforts, but 
requires good actors, with a lively sense of humor. It is very 
easily arranged, only one scene being required, and is an amusing 
hit at the "aesthetic craze" of the day. Mr. and Mrs. Eider- 
down, a loving and easy-going couple, who enjoy the practical 
blessings of life in their comfortable but commonplace home, are 
expecting a visit from Poly Bell, a cousin and once rejected lover 
of Mrs. E's. She remembers him as a plump young gentleman, 
with an inordinate love for jam, and is struck with surprise and 
admiration when she sees him, an attenuated individual, in sage 
green velvet, with a melancholy countenance, who abounds in 
gesthetie jargon and is horror-struck by the buxom person of 
his hostess and by the harsh and ill-assorted colors which deck 
her drawing-room. He immediately sets about her reformation, 
and finds an apt pupil ; but Mr. Eiderdown, big, bluff and jolly, 
will have none of him. Mrs. E., however, becomes enthusiastic 
over dirty greens and yellows, and arrays herself in an "utter" 
gown and transforms her drawing-room by means of would-be 
aesthetic draperies, and all very much to her husband's disgust. 
Poly and Mrs. E. lament his awful degeneracy and lay plans for 
his conversion. Several scenes ensue which may be made very 
funny by the introduction of good business by the performers. 
The plans all fail and Mr. Bell makes an ignominious exit, leav- 
ing Mrs. Eiderdown quite disgusted and quite ready to return to 
the realities of existence. The part of the Cook is short but 
good. 



ANALYSIS OF PLAYS. 



15 



ALL'S FAIR IN LOVE AND WAR * 



A Comedietta in Three Acts. 

Time in representation, forty-Jive minutes. 

Scene. — TJie library at OaJchurst Park, the seat of Squire Blount, centre 
doors, interior backing. Easy chairs k. and L. Couch l. Library 
chairs. Table with writing materials, r. c. Large wardrobe u. E. B. 
Bookcases against thejlats e. and l. andxs. E. L. 

CHARACTERS. 

Francts Blount, Esq. (63, A Country Squire), 
Frank Blount (22, His Nephew). 
Buttons (26. His Footman). 

Constance Trevor (21, A Young Heiress under the guardianship of Squire 
Blount). 

Jemima, (22, Her Maid, an advocate of woman's rights, including the rites of 
matrimony). 

COSTUMES. 

Squire Blount. — First dress: grey wig, white cravat, cut-away coat, drab 
vest, brown breeches, and gaiters. Second dress: grey wig (curled), pink 
satin necktie, white vest, blue coat, bright buttons, light trousers, nosegay. 

Frank Blount. — Light vest and trousers, frock coat. 

Buttons. — Footman's livery, hair powdered. 

Constance. — Light morning costume. 

Jemima. — Chinz or muslin dress, apron with pockets, white cap with col- 
ored ribbons. 

A capital comedietta and not difficult. "Very good part for low 
comedian. This play may be given in any ordinary drawing- 
room, no scenery, and but few properties required. 

Francis Blount is an elderly and rheumatic country squire, in 
love with his ward, Miss Constance Trevor, aged twenty-one, 
who by her father's will is obliged to marry before her twenty- 
second birthday, and is to forfeit half her fortune if she marries 
without her guardian's consent. She is secretly in love with 
Frank Blount, the old gentleman's nephew. Buttons is a melo- 
dramatic footman, who is always quoting Shakespeare, and in 
love with Jemima. These two make most of the fun; taking for 
their motto, " All's fair in love and war." The last four charac- 
ters combine, and by an amusing stratagem get the old Squire's 
consent to their respective marriages. The dialogue is good, and 
so are all the parts. An excellent piece for amateurs. 



ANALYSIS OF PLAYS. 



ANIMAL MAGNETISM. 
A Farce in Three Acts, by Mrs. Inchbald. 

Time in representation, about an hour. Period, 18th Century. Scene, two 
rooms in the Doctors house. 

CHARACTERS. . 

Mahqots. Jeffrey {his Servant). 

La Eleur (Ms Servant). Two Servants. 

Doctor. Constance (the Doctor's Ward.) 

Lisette (her Maid). 

COSTUMES. 

Marquis. — Full dress suit, embroidered, white silk stockings, primps 
and buckles, handsome robe de cliambre over it, and cap. Second dress, 
A doctor's scarlet gown. 

Doctor. — Crimson velvet suit with black buttons and trimming, black 
stockings with white clocks, long curled powdered wig, square-toed shoes 
and buckles. 

La Fleur. — Old-fashioned spotted velvet coat and breeches, scarlet gold- 
laced waistcoat, scarlet stockings with white clocks, square-toed shoes and 
buckles, three cornered hat and long curled wig. 

Jeffrey. — Black jacket and breeches, canvas apron and sleeve covers, 
to tie round the waist, blue stockings, shoes, black patch over left eye. 

Picard and Francois. — Black and scarlet gowns, long curled wigs, etc. 

Lisette. — Neat slate colored gown, trimmed with pink, white stockings, 
colored shoes, and cap. 

Constance. — White satin, handsomely trimmed. 

The Doctor keeps his ward under lock and key, as he means to 
marry her and her fortune himself. Constance means to marry 
the Marquis, who gets into the house as a sick man. La Meur 
obtains an entrance as a Magnetic Doctor; the magnetizing 
scenes are very funny. This is one of the plays Dickens was 
great in. The characters are all good, particularly La Meur and 
Lisette, a very lively soubrette. The Doctor is an old man, La 
Fleur and the Marquis are light comedians, and Jeffrey is a low 
comedian. The dresses are very effective, the scenery simple- 
one room is quite sufficient — and the plot is amusing. It is very 
well suited for amateurs. 



ANTONY AND CLEOPATEA 

MARKXED AND SETTLED.* 
A Burletta m One Act, by Charles Selbt. 

Time in representation forty -Jive minutes. 

Scene. — Antony's shop. Door o. Windows R. and l. of o. Door s. e.r. 
Large screen folded up near s. E. B. Cradle with baby in it f. e. l. 
Tailor's board before window I*, of c, with coat, tailor's goose, shears, 



17 



ANALYSIS OF PLAYS, 



pants, shoes, sleeve-board, yard measure and handkerchief on it. Trunk 
under tailor's board, with Antony's hussar dress complete in it. Low, 
three legged stool near board. Coat block xuith coat on it, l. u. corner. 
Table s. E. L., with, pens, ink, paper and wafers on it. Chair by table. 
Broken chair between door c. and witidow l. Counter beneath windoto 
r. of c. Caps, cap blocks, ribbons, etc., etc., on it. A pair of patterns 
in corner nearest door. Chair r. of counter. Table near s. e. r., with 
pens, ink, paper, wafers, pins, needles, and needle-work on it. Chair by 
table. Ironing stove and irons near F. e. e. Pap saucepan, with bread 
and milk in it, on stove. Key in each door. The windows should befitted 
up with all the usual articles belonging to a milliner's and tailor's shop. 

CHARACTERS. 

Antony (A trifle sobered, but still gay^ and, rollicking). 
Cleopatra {A trifle wiser, but still fond of masquerading), 
Little Antony (A small trifle in a cradle). 

COSTUMES. 

Antony.— Striped grey pantaloons, shabby shoes, flowered waistcoat, 
with rolling collar ; green coat, with bright buttons ; shabby cotton 
smoking cap, colored neckchief. Second dress, Scarlet cavalry trousers, 
black varnished leather round the bottoms and inside the legs ; japanned 
boots, hussar jacket, trimmed with fur, powdered wig, military cap. 

Cleopatra. — Striped light cotton gown, black silk apron, with pockets; 
lace cap. Second dress, Fashionable French boots, blue trousers, white 
Chesterfield wrapper, red satin vest, handsome cravat, black hat, white kid 
gloves. Third dress, Shoes, blue silk stockings, black velvet trousers, band 
and row of buttons up the sides ; blue sash, white shirt ; colored binding 
round the collar ; black cravat, blue cap, hanging top. 

Yery amusing. One scene. Antony is a rollicking tailor, 
only a trifle sobered by matrimony, and Cleopatra, his wife, some- 
what wiser, but still gay and festive. Their amusing quarrels and 
subsequent reconciliation form the ground-work of the piece, 
although it will be better to have the properties, as described in 
the scene above. They are not all absolutely necessary. In the 
course of the piece a grand Parisian Pas Gitanacaehucacraco- 
viennebolerotarantella is danced, for which a description of the 
figures is given ; but anything else can be substituted for it. 



ANYTHING FOE A CHANGE. 

A Farce in One Act, by Shirley Brooks. 

Time in representation, fifty-one minutes. Period, the present. Scene, a draw- 
ing-room. 

CHARACTERS. 
Mr. Paul Honeyball. Mrs. Honeyball. 

Mr. Swappington. Margaret (her Sister-in-law). 

Mr. Jeremy Census. Eliza (a Servant). 

Costumes, Modern. 

Swappington was one of Charles Matthews' parts. He is a 
gentleman who prefers anything belonging to any one else to all 



15 



ANALYSIS OF PLATS. 



his own possessions. He no sooner gets a thing than he wishes 
to exchange or "swop " it. He only falls in love with Margaret 
because he is under the impression that she is Mrs. Honeyball, 
and so already appropriated. An unsatisfactory spouse, one 
would say, and not worth the trouble Mrs. Honeyball (who per- 
sonates Margaret) takes to secure him for her sister-in-law ; but 
one does not parse the motives of a farce. This one is funny and 
not vulgar. Swoppington must be played in a light and airy 
manner ; the other characters can be easily filled. Both ladies 
mast play and sing. Eliza has a nice little part. Census only 
appears in the last page. 



THE AEEA BELLE* 

A Farce in One Act, by William Brough and Andrew 
Halliday. 

Time in representation, forty minutes. Period, ihe present. Scene, a kitchen, 
area-steps seen through window. Practicable copper and cupboard. 

characters. 

Pitcher {in the Police). Mrs. Croaker {the " Missus "). 

Tosser {in the Grenadiers), Penelope [the Area Belle). 

Walker Chalks {a Milkman). 

Costumes, Modern. 

A well-known farce. Toole (as Pitcher) used to introduce "A 
ISTorriWe Tale " with great effect, and Paul Bedford made Tosser 
a great success. They are rival suitors of Penelope, or of the 
cold mutton. While they are at supper the mistress returns un- 
expectedly ; Pitcher hides in the copper, and Tosser in the cup- 
board. This necessitates a good many properties, otherwise the 
farce is easy and amusing, and may be undertaken by a company 
who are not yet old stagers. If the area steps cannot be seen 
through the window they must be left to the imagination of the 
audience. If there are a good many children and servants 
among them this farce is sure to be appreciated. 



THE AKTXST'S STEATAGEM ; 
OK, WHO LOYES "WHO? 
A Drawing-Koom Operetta in One Act, by J. Tom Burgess. 

Time in representation, one hour. Scene, a painter's studio. Period, the 
present time. 

CHARACTERS. 
Monsieur Felix (a French Drawing -Master). 

Frank Rattling, R. N. (a Lieutenant in ihe Navy, very much at Sea). 



ANALYSIS OF PLAYS. 



19 



Ernest Hope, EA. (of the Artillery). 
Fkaulein Spoyhall (a German Governess). 
Violet Sweetlove {with a secret penchant for the Army). 
Lily Sweetlove [who. in the recess of her heart, thinks it a nolle thing to be 
connected with the Sea,). 



A drawing-room operetta: the play contains the piano score of a 
number of the songs. The plot is briefly that Yiolet and Lily 

) Sweetlove have been separated from their lovers, Frank and 
Ernest^ through the machinations of Fraulein Spoyhall, a German 

. governess. Monsieur Felix, an old French artist, brings them 
together again by a pleasant and successful stratagem. The 
device of making living persons pose as portraits is borrowed 
from " Peg Woffington," and is used here very effectively and to 
the great entertainment of the audience. 

The design of this little musical sketch is to furnish an Operetta 
suitable for a drawing-room, in which, with perfect propriety, 
every character may be assumed by ladies. It requires no 
elaborate preparation. A pair of curtains to draw across the 
room ; a second piece of drapery, to cover the picture frames ; 
an artist's easel and palette ; a few pictures in and out of frames, 
with two large sized picture frames (kit-cat will answer the pur- 
pose), are the only properties required. The wardrobe is equally 
simple. A gentleman's dressing gown and smoking cap, an 
undress jacket and cap of the royal navy, and the same belonging 
to the artillery, complete the list. These, willing hands and 
nimble fingers will soon supply. 



A BURLETTA IN TWO ACTS, BY CHARLES SELBY. 

Time in representation, one -our and twenty-five minutes. 

Act I. — Scene — A tea garden (illuminated), Hospital of the Invalides in per- 
spective. Cut trees — arbors, chairs, tables, etc. 

Act II. — Scene — A drawing-room — opening c. on to a conservatory. A glass 
door in the back of which opens on to a garden, doors b. and l. in flat. 
Windows — (French) s. e. e. and t. e. l. Fire-place set complete s. e. l. 



Costumes, Modern. 



ASK NO QUESTIONS* 



CHARACTERS. 




Mathias (a veteran of the Old Guard 
and one of the Corps des Invalides). 



Gimblet. 
Francois. 

The Baboness de Seeigny. 
Celine. 

Madame Rose Gimblet. 



^ E > Invalides. 



Count Abthub de Cesanne. 
Theodobe. 



COSTUMES. 



Mathias. Blue military square-cut coat, lapels and collar, turned up with 
red, blue trousers and waistcoat, black stock, three-cornered cocked-hat, with 
tricolored cockade, shoes and gaiters. 



20 



ANALYSIS OF PLAYS. 



Martinet. 

Petitveb.ee, 



, ] Ibid. 



Count Arthur de Cesanne. Blue French-cut half frock-coat, challi 
waistcoat, flowered with roses, French grey trousers, fitting to the foot, blue 
satin stock, white Parisian hat. Second dress, Light buff frock-coat. 

Theodore. Blue dress-coat and trousers, white waistcoat, black satin 
stock black Parisian hat. 

Gimbeet. Blue sparrow-tailed dress-coat, white short-legged trousers, and 
white waistcoat. Second dress, White livery square-tailed coat, white silk 
stockings and shoes, white neckerchief. 
Francois. Ibid. 

The Baroness De Serignt. Flowered challi, with row of crimson satin 
ribbon round the skirt, and bows up the front, black velvet cap, with bird of 
Paradise and flowers. Second dress, Green silk pelisse, trimmed with swans- 
down, orange ribbon bows up the front, yellow hat lined with blue, and red 
ostrich feathers. 

Celine. Pink silk pelisse, white French bonnet, Second dress, White 
muslin dress trimmed with pink ribbon. 

Madame Rose Gtmblet. White wedding-dress, lace veil. Second dress, 
Figured muslin, scarlet apron, lace neckerchief and lace cap. 

Comic and of the French school, with songs, which can be 
omitted if necessary. Mathias, a veteran of the Old Guard, has 
protected and educated Theodore, whom he has brought up as a 
gentlemen, but ignorant of his origin. Theodore is in love with 
Celine, daughter to the Baroness De Serigny, who, however, 
desigus to marry her to a nephew, Count Arthur, The piece 
opens with the pretty wedding festivities of Kose and Gimblet. 
Old Mathias becomes intoxicated and tells more than he ought. 
He is taken care of for the night by Count Arthur as an old 
comrade of his father's, and lodged in the hotel of the Baroness. 
This is a splendid old woman's part. She is very terrible and 
very funny, and dresses in all the colors of the rainbow. The 
next morning Mathias - makes himself very much at home, has a 
good scene with the servants, who try to eject him, and an excel- 
lent scene with the Baroness, whose German accent is very 
laughable. He recognizes in the Baroness the former sutler of 
his regiment and an old flame. They are both delighted at the 
meeting, and Mathias asks Celine's hand for Theodore. This 
causes a quarrel between Theodore and Count Arthur, who are 
about to fight, when Mathias discloses the fact that the former is 
really a son of the deceased Count De Cesanne, and Arthur's 
brother. The Baroness then consents to the marriage. This 
play takes extremely well with an audience, and there is oppor- 
tunity for picturesque dressing. Mathias' constant recommenda- ' 
tion to the other characters is to " Ask ISTo Questions/' 



ANALYSIS OF PLAYS. 



21 



ATCHI!* 

A Comedietta in One Act, by J. Maddison Morton. 

Time in representation, forty minutes. Period, 1780. Scene, A garden. 
House in the background. 

CHARACTERS. 

Lord Adonis Ftckleton. Lady Mayduke. 

Sir Martin Mayduke. Emily Hargrave {her Sister). 

Larktns (a Valet). 

COSTUMES. 
Satin dresses, velvet or satin coats and breeches. 

This a most amusing and easily managed little play ; it is just 
the thing to get up at short notice in a back ^drawing-room, for 
the scene may be laid there quite as well as "in a garden. The 
characters are all good, and none of them overpowering. Both 
ladies must laugh well. There is no reason why the date of this 
play should not be a good deal later than 1780, if more conven- 
ient. This play has the admirable point of requiring no proper- 
ties except a snuff-box and a bouquet. Sir Martin is a botanist, 
and has invented a wonderful snuff, " Sifiox nasum pungens," 
which makes every one sneeze at the wrong moment, and gives 
the play its name. Lord Adonis Fickleton's character may be 
inferred from his name. Lady Mayduke determines that he 
shall not trifle with her sister's .affections, and tries to get rid of 
him ; each endeavors to outwit the other, and various complica- 
tions arise, including comic jealousy on the part of Sir Martin, 
who imagines that his wife is the object of Lord Adonis' devo- 
tion. That fickle youth is really in earnest at last, and proposes 
to Emily in the midst of a fit of sneezing. 



BABES IN THE WOOD. 

A Comedy in Three Acts, by Tom Taylor. 

Time in representation, about two hours. Period, the present. 

Scenes I. and II. — A lodging-house drawing-room. Scene III. — A room inthe 
Queen's Bench Prison. Action of the piece extends over a fortnight. 

CHARACTERS. 

Me. Frank Rushton, Topper {a Policeman), and Bailiffs. 

The Earl of Lazenby. Todd (a Bill- Discounter). 

Mr. Seidell. Lady Blanche Rushton. 

Sir George Loosestrife. Mrs. Beetle. [a Landlady). 

Jeremiah Beetle [Landlord). Trotter, [a Lady's- Maid). 

Peacock ( Valet). 

Costumes, Modern. 



22 



ANALYSIS OF PLAYS. 



The chief objection to this piece is its length. There seem a 
great many characters, but many of them can be doubled. Pea- 
cock only appears in the first act, and could easily take Todd or 
Topper. " The " Babes " are a young couple who' have married 
without leave, and whose fathers have stopped the supplies. The 
Earl longs to forgive his daughter, and haunts her lodgings (hid- 
ing in the boothole and being taken for a burglar) for the pur- 
pose of catching a glimpse of her. Fear of his wife prevents his 
forgiving his only child openly. He, Blanche and Frank, have 
pathetic parts; Beetle was one of Buckstone's roles. Mrs. Bee- 
tle is a shrew. The young people get into difficulties, and finally 
into the Queen's Bench. The interest of the play centres in Lady 
Blanche — a part that requires the utmost delicacy and tenderness. 
Sir George Loosestrife and Slidell are scoundrels, whom it would 
be a really good-natured act to personate. There are no diffi- 
culties of stage management in this play. 



THE BACHELOK'S BEDKOOM ;* 
OE, TWO Y& THE MORNING. 
' A Comic Scene in One Act, by Charles Mathews. 

Time in representation, forty minutes. 

Scene. — A neat and plain chamber. Carpet covering stage. In centre flat a 
wide window, witli white blind drawn down, curtains drawn over it. A 
window of similar dimensions on opposite side of the street, to be plainly 
seen through window in c. of stage when the curtains are drawn apart. 

characters. 

Newpenny. Gentleman {to appear at window). 

Stranger. Female (to speak without). 

Short and funny. Poor Newpenny trying to sleep is disturbed 
at two in the morning by a ferocious knocking at a door in the 
neighborhood. As the 'stranger refuses to desist, Newpenny 
rashly invites him into his room, where he plays all sorts of 
pranks, and keeps his host awake the balance of the night. All 
of which is death to Newpenny but great fun for the audience. 



THE BAILIFF'S DAUGHTER* 
A Farce in One Act, by R. 0. M. 

Time in representation, forty-five minutes. Scene I.-— A street. Scene n. — 
A kitchen. 

CHARACTERS. 

Silas Badder {an Old Bachelor). Mrs. Smart {the Bailiff's Wife, a 

Richard Eden (his Nepheio, an Artist). Washerwoman). 



ANALYSIS OF PLAYS. 



23 



Jedxdiah Grabble (a Sentimental Angelina Badder {Neice to Silas — 

Grocer). passed mark of mouth) . 

Tony Smart {a Bailiff). Nelly Smart {the Bailiff's Daughter). 

Costumes, Modern. 

This farce, veil played, can be made very funny. It is an 
excellent one for amateurs and easily gotten up. 



BAKDELL vs. PICKWICK.* 

(The Trial Scene from Pickwick). 

A Farce in One Act, by Charles Dickens. 

Time in representation, thirty minutes. Scene, a court room. 

CHARACTERS. 

Mrs. Cluppins. 

Mrs. Bardell, Mrs. Sanders, Dod- 
son, Fogg, Snubbins, a Phunkey, 
Skimpin, Ushers, Etc. 

COSTUMES. 

All dress as pictured in the illustrations by Seymour and Phiz in the 
"Pickwick Papers." 

Pickwick. — A stout gentlemen of about fifty ; bald ; wears spectacles ; 
blue or black coat, light waistcoat, tight buff breeches, black gaiters up to 
mid leg, shoes. Throughout the scene he is amazed at Buzfuz's language, 
and gets so excited that he has to be restrained. 

Buzfuz.— Red lace, bullying, blustering voice and manner ; black gown ; 
horsehair wig with black tie. He imitates the principal lawyers of the day, 
and all the mannerisms of lawyers ; the affected cough, the appealing ges- 
tures to the court, the whisperings to his junior, the adjustment of his 
gown, etc. 

Sam Weller. — Groom's livery, buckskin breeches, top boots, gold band 
round hat, clean shaved, hair short. 
Judge Stareleigh. — Round-faced, sleepy, snappish ; wig and red gown. 
Winkle. — Walking-coat, dress of the time. 
Mrs. Bardell. — Half mourning. 

Mrs. Cluppins. — Stout, showy, large-patterned dress, coal-scuttle bonnet, 
pattens. 

Master Bardell.— Black suit, white collar. 

The others made up and costumed after the " Pickwick " illustrations. 

This is a complete reproduction of all the dramatic incidents in 
the Trial Scene in Boz's "Pickwick." Mrs. Bardell and her 
attorneys, Dodson & Fogg, bring a suit for breach of promise 
of marriage against Mr. Pickwick. The Court is organized — the 
Justice opens the proceedings — Sergeant Buzfuz addresses the 
Court and Jury, questions and brow-beats the witnesses until he 
catches a Tartar in the person of Sam Weller, whose examina- 
tion is given at length. Mrs. Bardell and her female cronies 
give their evidence. The Justice delivers his charge— constantly 
interrupted by Buzfuz ; the Jury return their verdict ; and Mr. 
Pickwick makes his famous comment. 



Sergeant Buzfuz. 
Judge Stareleigh. 
Sam Weller. 
Mr. Winkle. 
Old Weller. 



ANALYSIS OF PLAYS. 



BEAUTY AND THE BEAST. 

A Play in One Act, by J. Barnsby. 

Time in representation, one hour. 

Scene I. — A room in the merchant's house. Centre doors. Large round 
table, c, with cover and books, etc., on it, Fireplace, t. e. r. Easy chair 
before the fire. Window, t. e. l. Sofa, l. Chairs, ottomans, etc. 

Scene II. — Front garden of the Beast's palace. Gold and silver fruits and 
trees. Silvered water. 

Scene III. — Same as scene I. 

Scene IV. — Front chamber. 

Scene V. — The Beast's garden. Table spread, c. 
Scene VI. — Same as scene IV. 
Scene VII. — Same as scene V. 

C HARACTERS. 

A Merchant. Merchant's Second Daughter. 

Chimpanzo (a Prince transformed into Beauty (Merchant's third daughter — 

a Beast). the Drudge.) 

Goblin Page (attendant on the Beast;. The Fairy Aunt of Chimpanzo. 
Merchant's Eldest Daughter. Little Fairy [attendant on Beauty). 

COSTUMES. 

Merchant. — Brown square-cut coat, long satin vest, breeches, top boots, 
brown George wig, cravat, riding-cloak, hat, etc. Second dress, Handsome 
gold-laced suit, court wig. 

Prince Chimpanzo. — A Prince transformed into a Beast. A bear's dress 
and head — very much deformed. The beast's dress must be a strip one, cov- 1 
ering a very handsome satin suit. 

Goblin Page. — Scarlet tights, scarlet dress with scalloped wings (whale- 
boned) to open from the wrists to the ankles, red and green foil on a red 
face, red cap and red feather. 

Eldest Daughter. — Dress of the period, powdered hair, a wrinkled make- 
up, with black patches on chin and cheek. Second dress, Gold brocade 
and velvet underskirt, a huge, bustle, purple bonnet with lace and flowers 
on it. 

Second Daughter. — Dress of the period, not so glaring as the first 
daughter's. Second dress, Gaudy figured satin, crimson sa<in bonnet, 
golden sunflowers round the edge; high ostrich feather plumes in same. 

Beauty. — Plain and poor dress, short skirt, slippers. Second dress, Neat 
and pretty cotton. Third dress, Rich satin, elegantly trimmed; court wig. 

Fairy Aunt. — Fairy dress, laced and spangled*; satin slippers, silk tights, 
handsome diamond star ornament on forehead. Wand. 

Little Fairy. — Fairy dress, complete. 

This is one of a series of six plays written in easy verse by the 
author for his own family, and meets a need long felt. They are 
interspersed with pleasing and easy vocal music, for which the 
piano only is needed in accompaniment. It is not essential, 
however, for the performance of the play, and may be omitted 
where the performers are not musical. 

Everybody is, of course, familiar with the plot of " Beauty 
and the Seast," and it only remains to be said that this piece, 
as also its companions; are truly charming dramatizations of the 



ANALYSIS OF PLAYS. 



25 



time-honored stories which delighted us all as children. They 
cannot be too highly recommended. 

The others of the series are "Cinderella," "The Princess," 
"Rosebud, or the Sleeping Beauty;" " Bumplestitskin/' and 
" Skinflint." 



BETSY BAKER-* 
A Farce in One Act, by J. Maddison Morton. 

Time in representation, forty-Jive minutes. Period, 1850, or the present. 
Scene, a drawing-room. 

CHARACTERS . 

Me. Maemaduke Mouses. Mrs. Mouses. 

Me. Ceummy. Betsy Bakee {a Laundress). 

Costumes, Modern . 

-One of the most amusing of Maddison Morton's farces, immor- 
talized by Mrs. Keeley's Betsy Baker. It is a remarkably easy 
farce to get up, and all the parts are good; but some people 
might not care for the plot. Mr. Mouser is so devoted to his 
wife that she gets quite out of temper with him. Her cousin 
Crummy thinks a little jealousy will do her good, and persuades 
Betsy, by the promise of a greengrocer's shop for herself and her 
young man, to assist. The love-making on Mr. Mouser' s part 
becomes rather too much m earnest ; Betsy's is only a pretence. 
Mrs. Mouser is extremely jealous, and leaves off complaining 
that her husband " is too attentive by half.'' Mouser is a capital 
low comedian's part. 

» 

BETSY'S PKOFILE.* 

A Comedietta in One Act, by Gustave Droz. 

Time in representation, forty minutes. Scene, a drawing-room. 
CHARACTERS. 

Petee Feeguson {an American). Hoetense (a Young Widow). 
Hectoe Coyiele (a Deputy). Feancine {a Lady's Maid). 

Costumes, Modern. 

A sprightly comedietta, easily gotten-up, all the characters 
good. Mr. Peter Ferguson, a rich and eccentric American, offers 
his hand to Hortense, under the impression that she resembles his 
deceased wife, Betsy, who was killed by a railroad accident. 
Hortense, engaged to Hector, refuses to listen to him, whereupon 
Mr. Ferguson threatens to hang himself, but is happily diverted 
by a telegram announcing that Betsy is not dead at all. 



.26 



ANALYSIS OF PLAYS. 



THE BKOKEN SEAL* 
A Dramatic Sketch, in One Act, by E. Legottve. 

Timein representation, fifteen minutes. Scene, a drawing -room. 

CHARACTER. 
Makie. 
Costume, Modern. 

This is a monologue, which requires very little scenery. Marie, 
the happy young wife, devoted to her husband and baby, is yet 
tormented by jealousy. The unseen husband lays a trap into 
which she falls, to his great amusement and triumph. 



THE BIETHPLACE OF PODGEKS.* 
A Sketch in One Act, by John Hollingshead. 

Time in representation, forty minutes. Period, the present. Scene, a work- 
ing-man's room. 

CHARACTERS. 

Tom Cranky (a Working- Man /. Mortal Podgers. 

Mr. Maresnest (a Literary Enthus- Mrs. Cranky {a Working Woman). 

iast). Amelia Maresnest. 

Edmund Earlybird {a Lover). Miss Penelope Lexicon (Authoress 

Alonzo Lexicon (Editor of a Paper). of " Despair " and other poems). 

Two Photographic Artists. Two Boys. 

Costumes, Modern. 

Cranky (a part of J. L. Toole's) and his wife are at dinner 
when they are invaded by Alonzo and Penelope — literary enthusi- 
asts in search of the birthplace of Podgers the Poet. They roam 
about the room, disregarding the occupants, till Cranky loses 
his temper ; they are succeeded by two photographers and vari- 
ous other persons, all rhapsodizing about Podgers and ignoring 
Cranky. At the end the mortal Podgers (to whom the house had 
belonged, whence the mistake) appears half tipsy, and the en- 
thusiasts depart. This " Sketch " is more like a charade than a 
regular play ; bulr it is laughable, and some of the characters 
may be made a good deal of, and much " business " may be in- 
troduced. 



ANALYSIS OF PLAYS. 



27 



THE BOAKDING SCHOOL* 
A Farce in One Act, by W. Bayle Barnard. 

Time in representation, one hour. 

Scene I. — A village green in Devonshire ; s. e. it. stands a hoarding school, 
board over door with inscription, "Establishment for Young Ladies." 
In the distance at the back, the village church with green before it, and 
duck pond in the centre. 

Scene II. — The play-ground, its wall at back $ with door in centre ; a door 

opens into garden, s. E. E. 
Scene III. — Back of the boarding school. 

Scene TV. — The school room. A long table with desks, ranges from the front to 
back on l., and two other tables cross the room from l. to b., with benches 
beside each ; the teacher's chair and work table, in front, b. Folding 
doors open at the back into an inner room ; fireplace, l., with list of regu- 
lations, window opposite ; a door b. leads into the house, another l. com- 
municates with the front door. 

CHARACTERS. 

The Sebgeant. 
Mbs. Gbosdenap. 
Caboline Blythe. 
Miss Maby Mite. 
Julia Manvees. 
Miss Biggs. 
Scholabs. 

COSTUMES. 

Capt. Habcoubt. — First dress, red jacket, faced white, and blue trousers, 
trimmed with gold lace ; cap with white and red horsehair tail. Second 
dress, slate colored gown, red cloak, white apron, and black bonnet. Third 
dress, light brown coat, white waistcoat, nankeen pantaloons, and white 
cap. 

Cobnet Kavanagh. — First dress, same as Captain Harcourt, Second dress, 
black surtout, waistcoat, and trousers, and green spectacles. 

Lieut. Vaeley. — First dress, same as Captain Harcourt. Second dress, 
black frock coat and white trousers. 

Majob Mabsden. — Red jacket, faced white ; and blue trousers, trimmed 
with gold lace, cap with white and red horsehair tail. 

Eabmeb Holly. — A countryman's dress. 

James. — A light-blue round jacket, white trousers, and boy's cap. 
Mbs. Gbosdenap. — Light fawn G-ros de Naples dress. 
Caroline Blythe. — Scarlet silk froc'-, and pinafore, (Second scene). 
Miss Maby Mite. — White muslki frock, bine bonnet and sash, ibid. 
Julia Manvebs — Black velvet frock and white trousers, ibid. 
Miss Biggs. — Silk gown and white apron. 

This piece, produced with considerable public favor at "Wal- 
laces theatre, is well adapted for private interpretation, as it 
gives opportunity to a number of characters which are none of 
them difficult while the costumes are picturesque. A hero is always 
twice as much a hero if he wears regimentals. Harcourt, Kav- 
anagh and Yarley are three officers belonging to the North Devon 
yeomanry, orj duty in a village. Time hanging heavy on their 



Capt. Habcouet. 
Coenet Kavanagh. 
Lieut. Vaeley. 
Majob Maesden. 
Fabmeb Holly. 
James. 



28 



ANALYSIS OF PLAYS. 



hands, they are delighted at sight of a young ladies' boarding 
school taking the air in a body, and incontinently fell in love 
with three of the members thereof. The play describes their 
amusing strategems to obtain the ear, and after that the eye of 
the young ladies. They outwit the governess and obtain entrance 
to the school disguised as teachers, and contrive, ere discovery 
overtakes them, to pay successful court to the fair objects of 
their affections. This play depends entirely upon the sprightli- 
ness of the performers. 

* The arrangement of the school-room scene can be altered if 
necessary, and any out-door scene will do for the other scenes. 



THE BOOTS AT THE "SWAN." 

A Farce, by Charles Selby. 

Time in representation, one hour. Period, the present, or fifty years ago. 
Scene I. — A room in an hotel. Scene II. — A drawing-room. 

CHARACTERS. 

Henry Higgins. Miss Moonshine. 

Captain Friskly. EmiEY (her Sister). 

Peter Pippin (a Page). Sally Smith (her Housemaid), 

Jacob Earwig (the Boots), Betty Jenkins (her Cook). 

Costumes, Modern. 

An amusing and unobjectionable farce. A very good light 
comedian is required for Friskly; this is a "patter" part, and 
cannot be rattled off too quickly. Higgins is a walking gentle- 
man in love with Emily. Miss Moonshine objects to his name, 
and Friskly comes to the rescue in a thoroughly original manner. 
Jacob, the boots at "The Swan" (or whatever the name of the 
nearest inn may be), is as deaf as a post ; and Friskly talks to 
him in pantomime, which, if well done, is always much ap- 
plauded. Miss Moonshine, a ridiculous, romantic old woman, 
given to poetry, is a capital part. A great deal of "business" 
can be put into this play — in Miss Moonshine's first entrance, 
and in her tragic exit with Friskly while Jacob snores ; and in 
the distinct and mysterious exits made by the lady and all her 
servants while the supposed housebreakers, Friskly and Jacob, 
are hiding under the table. Higgins comes in, knowing nothing 
about it, and Miss Moonshine hails him as her preserver, and 
gives him her sister. Jacob is an excellent low comedian's part. 



ANALYSIS OF PLAYS, 



BBIC-A-BEAC* 



A Comedietta m one Act. 



Time in representation, thirty minutes. Scene, a drawing-room. 



CHARACTERS. 



M. de Honduras. 



Servant. 



Mrs. Spoon. 



Costume, Modern. 



A very nice two-character piece. If. de Honduras is an ardent 
collector of old china, and Mrs. Spoon is a charming widow, 
whom he visits with a view to buying a cover from her for a 
tureen which adorns his collection. He finds that the cover is 
worthless without the hand of its owner. Dialogue bright and 
sparkling. 



A Fairy Play m Three Acts, by¥. S. Gilbert. 

Time in representation, one Ixour and thirty minutes, 

JScene. — A tropical landscape. In the distance a calm sea. A natural fountain 
— a mere thread of water— falls over a rock into a natural basin l. An 
old, sun-dial, formed of the upper part of a broken pillar, round the shaft 
of which some creeping flowers are trained, stands r. c, on a small 
mound. 



This poetic and beautiful play, written in blank verse, by Mr. 
"W. S. Gilbert, cannot fail to interest any audience. The scenery 
and accessories are somewhat difficult for the amateur stage, but 
it might be managed. A deformed dwarf is one of the principal 
'characters. The play abounds in delicate sentiment, and de- 
scribes how Prince Fiorian lands upon the island of Broken 
Hearts and finds there the Lady Hilda and three other maidens, 
who have retired from the world in order to mourn their dead 
lovers. The Lady Hilda has long loved Prince Florian and 
thought him dead. He now for the first time sees her and woos 
her. After some fairy complications, in which the dwarf 
Mousta, the Lady Yavir and a veil, which renders its wearer in- 
visible, play important parts, they are happy. 



BKOKEN HEAETS. 



characters. 



Prince Florian. 

Mousta (a Deformed Dwarf). 

The Lady Hilda. 



The Lady Yavir (her Sister), 
The Lady Meltjslne. 
The Lady Amanthis. 



COSTUMES— 1309-1350, 



30 



ANALYSIS OF PLAYS. 



THE BUSY-BODY. 

A Comedy in Three Acts, by Mrs. Centlivre. 

Time in representation, about tivo hours and a half. Period, 1709. Action of 
the piece extends over two days. 

Act I., Scene I. — The Park. Scene II. — A room in Sir Francis Gripe's house. 
Act II., Scene I.— Sir Jealous Trafeick's house. Scene II.— Street before 

Charles' lodgings. Scene III. — A street. Scene IV.— Same as Act I., 

Scene II. Scene V. — A tavern. Scene VI. — Garden, with gate open. 

Scene VLL— Same as Act II., Scene I. 
Act III., Scene I. — Same as Act I., Scene II. Scene II.— Same as Act II., 

Scene I. Scene III. — Same as Act II., Scene III. Scene IV.— Same as 

Act II., Scene I, 

CHARACTERS. 

Sir George Airy {in love with Mi- "Whisper (Charles' Servant). 

rand a). Miranda [Ward of Sib Francis 

Sir Francis Gripe. Gripe). 

Charles (his Son, in love with Isa- Isablnda (Daughter of Sip. Jeal- 

binda). ous Traffics. ) 

Sir Jealous Traffics. Patch ( Isablnda' s Maid). 

Marplot. Scentwell (Miranda's Maid). 



COSTUMES. 

Sir Francis. Heavy square-cut, long-skirted coat, long, napped waistcoat, 
silk stockings, rolled over the knee, gaiters and buckles, shoes and buckles, 
full black wig, three-cornered, gold-laced hat, cravat and rufi3.es, sword and 
cane. 

Sir Jealous. Dark suit of above fashion. 

Sir George. Handsome velvet coat, cut off a little in the front, white 
satin waistcoat and breeches, white stockings, sword, laced cravat, and 
ruffles, hat, with feather trimming, shoes, with red heels, buckles. Second 
dress, Plain suit. Third dress, Same as the first, 

Charles. Handsome satin coat, etc., same fashion as Sir George. Second 
dress, Spanish doublet, breeches, cloak, and Spanish hat. Third dress, Same 
as first. 

Marplot. Blue velvet coat and breeches, white satin waistcoat, etc. 
Whisper. Square-cut livery. 

Miranda. Embroidered silk or satin open skirt, tight sleeves, and ruffles, 
stomacher, hair dressed high over the forehead, with a few heavy curls, 
mantle and mask in first scene. 

Isablnda. Gray silk dress, same fashion. 

Patch and Scentwell. Plain dress of the above fashion, with aprons 
and mittens. 



Sir George Airy is in love with two ladies — with the wit of 
one, whose face has always been concealed by a veil, and with ^ 
the beauty of another, to whom he has never spoken, as he 
thinks: they turn out to be the same lady, Miranda, whose 
guardian (Sir Francis Gripe) intends marrying her himself, for 
the sake of her money. She has an excellent scene with Sir 
George in the first act, in which she makes a very telling exit. 
Her scenes with her guardian are very comic ; he is so certain of 
her devotion to him that he allows Sir George to have a ten- 
minutes' interview, and receives a bribe of a hundred guineas for 



ANALYSIS OF PLAYS. 



31 



his compliance. Miranda pretends to be dumb ; bnt Sir George 
talks for both, alternately kneeling at her feet pleading for him- 
self, and jumping np and answering graciously for her. Sir 
Jealous Traffick has betrothed his daughter to a Spaniard, 
and keeps her under lock and key, guarded by Patch, who is 
really devoted to her mistress and Charles, and does not object 
to flirting with his man, Whisper. This individual confides all 
his discoveries to his master in a whisper, to the annoyance of 
Marplot, who is devoured by curiosity, wishes to help every one, 
but spoils everything he meddles with ; not from ill-nature, but 
stupidity and bad luck. Patch is a good chambermaid's part : 
her facility for inventing lies is something remarkable. How- 
ever, Sir Jealous finds her out and turns her out of the house, 
when she evolves the idea of Charles personating the Spaniard 
and marrying Isabinda with her father's consent. The gentleman 
who plays Charles has to speak a few sentences of Spanish. The 
play is full of comic situations. Like in all the old plays the 
scenes are constantly shifted, otherwise there are no stage diffi- 
culties. Sir George and Charles are light comedians, Sir Francis 
and Jealous old men, and Marplot a low comedian. This play is 
a good one for amateurs, not too difficult. There is nothing 
objectionable in the plot, but a good many sentences will have 
to be left out. Mrs. Centlivre certainly calls a spade a spade 
after the fashion of her time. 



CAPTAIN OF THE WATCH * 
A Farce m One Act, by J. E. Plahche. 

Time in representation, one hour. Period, the 11th Century. Scene I. — A 
garden; a wall at the back with a door in it. Scene II. — A drawing- 
room. 

CHARACTERS. 

Viscount de Ligny ( Captain of Officer of the Watch. 

the Watch). Servants and Guards. 

Baron Vanderpotter. Kristina {Niece of the Baron). 

Adolf de Courtray. Katrtn (her Maid). 

COSTUMES. 
Belgic (or Spanish), in the 17th Century. 

The play, which the author calls a farce, bnt which is deserv- 
ing of a better name, is very amusing and very well written ; but 
there are two or three difficulties connected with it. In the first 
scene there must be a practicable " wall : the stage has to be 
darkened gradually until it is quite dark — nothing looks more 
absurd than to see people groping about in bright gas-light. The 
dresses are very effective; the girl's dresses are .particularly 



ANALYSIS OF PLATS. 



pretty, and their words are most amusing. Katryn is one of the 
best pert chambermaid's parts I know of. Baron Yanderp otter 
is a comic old man. The scene is laid in Brussels ; the Captain 
of the Watch is the castos mortem of the city, and ought, in 
justice, frequently to arrest himself. This is one of Lester Wal- 
laces parts. In one of his escapades he hides in the Baron's 
garden, where he and Adolf (Kristina's lover) are mistaken for 
each other, which leads to complications. This little play 
most laughable from beginning to end. 



CASTE* 

A Comedy in Three Acts, by T. W. Eobertson. 1 

Time in representation, two hours and forty-jive minutes. Period, the present. 
Between Acts I. and II. eight months elapse ; between Acts II. and III. 
twelve months. 

Scenes I. and III. — Poorly-furnished room; practicable window and blind; 

practicable railings beyond, and view of street. 
Scene II. — A fashionable drawing-room. 

CHARACTERS. 

Hon. George d'Alroy. Dixon {servant). 

Captain Hawtree {his Friend). Marquise de St. Maur. 

Eccles. Polly Eccles. 

Samuel Gerridge. Esther Eccles. 

Costumes, Modern. 

The Hon. G-eorge d'Alroy marries Esther, the daughter of 
Eccles, a disreputable fellow, given to drink and idleness. The 
Marquise de St. Maur, George's mother, is very strong on the 
subject of caste, and naturally views the marriage with horror — 
Esther and Polly having been ballet-girls, and Polly being en- 
gaged to Sam Gerridge, a plumber and glazier redolent of putty. 
Polly and Sam are capital characters. Polly has two pantomime 
scenes of ballet — in this case very decidedly ballet fraction, imi- 
tating a charge of cavalry, etc. Esther is quiet and ladylike, 
and holds her own, even with the grande dame. George is re- 
ported killed by the Sepoys ; Esther is broken-hearted, but pre- 
fers going on the stage again to parting with her baby, as the 
Marquise wishes. Old Eccles has hold of and spent all the 
money left by George for his wife's use. This old man is made 
unnecessarily repulsive — he even steals the coral from his baby 
grandson when he is left alone for a few moments with the child. 
He usually comes on in a half-drunken state, and in the last act 
is thoroughly intoxicated. Captain Hawtree is a swell, but a 
good-hearted one. He and George are light comedians; Sam, 
low comedian; Eccles, disreputable old man; Dixon has only 
one line ; Esther, lady comedian ; Polly, singing chambermaid ; 



ANALYSIS OF PLAYS. 



33 



and the Marquise, aristocratic old woman. She should be an 
imposing-looking lady, tall and stout. George is not killed, and 
reappears with the milk in the last act. This is a touching scene, 
because so natural ; of course, it requires good acting. There is 
no difficulty about the scenery in this piece or the properties, 
though they include the baby — artificial, of course. There is a 
complete list of properties and a scene-plot at the beginning, 
which is very convenient. 



CARBIED BY ASSAULT * 
A Comedietta in One Act. 

Time in representation, thirty minutes. Scene — A sitting room in a 
country house. 

CHARACTERS. 

Colonel. George Hazelbeook {a Retired David (a Captain in the Army). 

Officer) . Maude ( Colonel Hazelbrook's young 

Sister). 

Costumes, Modern. 

Captain David, who is too timid to ask the hand of Maude, 
his Colonel's sister, is attacked by the two and " Carried by 
Assault/' A sprightly little piece and easily managed. 



CHAMPAGNE* 



A Charade Farce in One Act. 

Time in representation, forty minutes. 

Scenes I. and TL. — Aunt Feebeebody' s boudoir. 
Scene III. — Ceaude Mft.bose's lodgings. 

CHARACTERS. 

Claude Meebose {alias Kafooslum, nephew o/Aunt Feebeebody, cousin an% 
lover o/Mary). 

Bele ( a Jack-of-all-Trades and servant to Aunt Feebeebody). 
Aunt Feebeebody [an old-young lady , feeble in mind and body). 
Mary (her niece and poor dependent). 

Costumes, To suit the characters. 

A charade farce, in which Aunt Feeblebody is cajoled by her 
nephew, Claude, who professes to be a quack doctor. Some sing- 
ing and plenty of fun in it. Tery amusing. 



3i 



ANALYSIS OF PLAYS. 



* CAUGHT IN HIS OWN TOILS."* 
A Farce m One Act, by E. K. C. 

Time in representation, thirty minutes. 

Scene, A garden. At back of stage, n,, a small house, with doors and win- 
dows shut; over the door, written in large letters, t( The Two Pigeons !" — 
to the left of the stage alow hedge and set cut trees; to the r. c, cut trees* 
Night; stage dark. 

CHAEACTERS. 

Mr. Boistebous (a Publican). Sam Boots (a Gardener). 

Jemmte {a Lawyer's Clerk). Mks. Boisterous. 

Bill Snaeeles (the Hostler). Helen (her daughter). 

Joe Foeest (a Gamekeeper), 

COSTUMES. 

Mb. Boisterous. — Knee breeches, stockings and shoes, shirt sleeves and 
waistcoat. 

Jemmie. — Plaid trousers, dark coat, loud waistcoat and necktie, black hat, 
Bill Snaeeles. — Breeches and gaiters, etc. He possesses a horsey ap- 
pearance. 

Joe Foeest. — Knee breeches, gaiters, green-broad hat. 
Sam Boots. — Colored trousers, very thick shoes, a gardener's apron, straw 
hat. 

Mks. Boisterous. — A night dress, a shawl, a large cap with enormous 
frills, and large slippers. 
Helen.— Short muslin dress and cap. 

A capital farce, which requires the briskest of playing. Mr. 
and Mrs. Boisterous are victims of the green-eyed monster, and 
constantly spying on each other. Helen, their daughter, loves 
Jemmie, "who is not worthy of her. The greatest amusement is 
caused by Jemmie's serenading Helen, and being mistaken for 
an admirer of Mrs. B.'s by her husband, who prowls around in 
search of the offender. Mrs. B. also prowls, hoping to catch Mr. 
B. in the act of serenading some other fair one. They are con- 
stantly falling over each other in this search. Mr. B. enlists the 
hostler and gamekeeper in his service, and with plenty of 
whips, big sticks, guns, dark lanterns and what not, they man- 
age "to keep the audience in roars of laughter. Jemmie, who is 
merely flirting with Helen, is at last caught in his own toils, and 
forced at the point of the big sticks, whips, guns, and so forth, to 
make her a formal offer of his hand. 



ANALYSIS OF PLAYS. 35 

THE CHANGELINGS.* 

OR, WHICH IS WHICH? 
A Play in Three Acts, by Lady Georgiana Fullerton. 

Time in representation, one hour and Jif teen minutes. 

Acts I. and II., Scene. — A room in a house in JSouthwark. 
Act III., Scene. — A room in Mrs. Dimple's boarding-school, 

CHARACTERS. 
Lady Davenant, Kose Davenant, alias ] 

Mrs. Yates. Mary Yates, 

Mrs. Goggle. Fanny Marchbanks, \ Vn T irn f rtiv ,? v . 

Joan Porter (Mrs. Goggle's ser- Jane Caldwell, ^caooigxris 

vant). Ann Dawson, 

Mrs. Peterktn, ) Neighbors of Bessie Fatrchtld, J 

Mrs. Rudge, j Mrs. Goggle. Mrs. Dimple {Schoolmistress). 

Two Babies. 

Costumes, Modern,, 

In this little piece the characters are exclusively female. The 
rough but kind-hearted Joan is a good part for a comedienne. 
Two babies are brought to Mrs. Goggle, for protection, on the 
night of a terrible fire. In her confusion she forgets that the 
children may get " mixed/' and neglects to mark them for future 
identification. Shortly afterwards one of them dies, and when, 
after the lapse of two years, the mothers come to claim their 
respective offspring, there is a dispute, and, in the absence of 
King Solomon, no one can settle it. It remains thus until the 
third act, when the surviving baby, now grown up, appears as a 
young maiden at school. She is still a bone of contention, but 
the matter is finally decided by her extraordinary likeness to her 
dead father. The two mothers amiably conclude to live together 
and share the daughter between them. 



CHABITY.* 
A Play in Four Acts, by W. S. Gilbert. 

[Time in representation, two hours and fifteen minutes. 

Scene. — Act I. — Boudoir in Mrs. Van Brugh's country house. 
Act II. — Another room in Mrs. Yan Brugh's house. 
Act III. — Room in Mr. Smailey's house. 
Act IV. — Library at Dr. Athelney's. 

{A few days interval between each act.] 

CHARACTERS. 



Dr. Athelney [a Colonial Bishop- Butler. 
Elect). Footman. 



36 



ANALYSIS OF PLAYS. 



Ted Athelney (Ms Son, aged 38). Groom. 

Mr. Smailey (a Country Gentleman, Mrs. Van Brugh {a Widow, aged 

aged 60). 33). 

Fred. Smailey (Ms Son, aged 22). Eve (her Daughter, aged 17). 

Mr. Fitz Partington (a Private In- Ruth Tredgett (a. Tramp, aged 

quiry Officer). 37). 

Costumes, Modern. 

This fine play is well known to the pnblic through the imper- 
sonation of Kuth Tredgett by Miss Fanny Davenport. Unlike 
many plays, while it interests and amuses, its moral is keenly 
pointed and conveys a scathing rebuke to those hypocrites whose 
goodness is all upon their tongues, and whose hearts are fall of 
selfishness and corruption. Mrs. Yan Brugh, a wealthy woman, 
deservedly honored and beloved by all, was never married to the 
man whose widow she was supposed to be. For eighteen years 
she has endeavored, by a beautiful life, filled with benevolence 
and good works, to atone for her error. This is discovered by 
Jonas Smailey, a sneaking hypocrite. He is also the heir to her 
property, if he can prove that she was not the wife of Captain 
Yan Brugh. Re sets Fitz Partington, a private detective, upon 
her track, little thinking that Fitz Partington is investigating a 
villainy committed by him some twenty years previous. After 
exposing Mr?. Yan Brugh ? s secret and taking her property, he is 
at last brought to book through the efforts of Fitz Partington and 
Ruth Tredgett, a tramp, who has been rescued from her aban- 
doned life and cared for by Mrs. Yan Brugh. The latter, with 
her daughter Eve, is consoled and taken care of by her devoted 
friends, Br. Althelney and his son Ted, and they take up their 
abode in a new land, where Br. Athelney has been appointed 
a Colonial Bishop. The play ends with the just exposure and 
punishment of the two scoundrels, father and son. This piece 
requires strong acting, as every one of the characters are good. 



CHECKMATE* 
A Comedy m Two Acts, By Andrew Halliday. 

Time in representation, one hour and a half, Period, the present. 

Scene I. — Coffee room in an hotel. Scene IT. — Garden, with entrance to the 
hall on one side ; garden-wall and gate (or door) on the other, 

CHARACTERS. 

Str Eterton Toffee. Bottles (a Butler), 

Sam Winkle (his Groom). < Miss Charlotte Russe. 

Henry ( Waiter at the hotel). Martha Bonn (her Maid)* 

Parsley (a Gardener). Mary Ann, ) 

Strap (a Stableman), Jane, [ Servants % 

Cheeks, (a Page-boy). Mattie, ) 

Costumes* Modern* 



ANALYSIS OF PLAYS. 



37 



A laughable comedy and a good one to select where there are 
several beginners desirous of parts. Henry only appears in the 
first act, so the same actor can take one of the other servants 
who only appear in the second. The important characters are 
Sir Everton, Sain, Miss Kusse and Martha Buim. The work is 
pretty evenly divided between them. Sir Everton and his cousin 
Charlotte have not seen each other since they were children, but 
a marriage has been arranged ; -the idea strikes each of them to 
change places with their respective man and maid. All four have 
to make a quick change of dress during the first act. Sir Everton 
is dumb with horror at seeing the vulgar creature his betrothed 
has developed into, but at last discovers the very lady-like maid 
is his cousin. Charlotte sees through his disguise much more 
quickly; there is a pretty scene between them when the truth 
dawns on them. Sam is a good low comedian's part. He and 
Martha have luncheon in the garden scene. The minor parts are 
good as far as they go. 



THE CHILD OF CIKCUMSTANCES; 

OR, 

THE LONG LOST FATHER, AND THE FORCE OF FANCY 
, COULD NO FARTHER GO. 

A Sensational Drama, in Three Acts/ 

Time in representation, one hour. Period, eighteen hundred and something. 

Scene. — Act I. — A drawing-room. 

Act II.— Cabin of H. 31. S. " Blue Blazes." 
Act III. — The shores of a desert island. 
N. B. — These scenes can be left entirely to the taste, imagination, or {resources 
of the stage manager if necessary. 

Place. — The first act takes place in England, the second act on the sea some- 
where, and the third act on a desert island, the latitude and longitude indifferent. 

CHARACTERS. 
Robinson Prospero {the monarch of all he surveys). 

Caliban Friday {a black and a faithful follower, always after Prospero). 
Tom Trusty (an interesting young man, in love with Grace). 
Diddler ISipcheese (an old purser and a villain, in love with Grace). 
Cabin Boy. 

Grace Whatshername (the child of circumstances). 
Polly Pert [a damsel attending on Grace). 
Tabby (a real cat). 

Tinkers, tailors, soldiers, sailors, Apothecaries, ploughboys, thieves, or anybody 
else, all of whom are invisible. 

COSTUMES. 
According to fancy, but very outre. 



38 



ANALYSIS OF PLAYS. 



This is a burlesque in three acts, and finds much favor with 
an audience. There is a good deal of music which is lively and 
pretty. Grace "Whatshernarne, the "long lost daughter," has a 
good singing part. With good acting, very funny indeed. A 
cat is introduced throughout, and creates much laughter, and 
brings about the denouement. -Excellent negro part in it. 



CHILDHOOD'S DEEAMS. 

*A Comedy in One Act, by Sir Charles L. Young. 

Time in representation, one hour. 
Scene. — Drawing-room in Lady Richmond's house, in May/air. 
CHARACTERS. 

Lady Richmond (a Widovj, aged 30). Peter Bakwise (Q C, aged 40). 
Dohothy {her Sister, aged 18). Hugh Colerayne (Capt. E. A. t 

aged 32). 

Costumes, Modern. 

A capital one-act comedy, requiring but one scene — a drawing- 
room. Could be prepared, if necessary, at a few hours' notice. 
Lady Richmond, an interesting widow, has for five years cherished 
the recollection of Hugh Colerayne, her boy lover, the playmate of 
her childhood. During this time she has received the constant at- 
tention of Mr. Barwise, who is at once her lover and legal ad- 
viser. Hugh, all this time on service in India, returns suddenly 
and finds that somehow his Josephine is not what his fancy 
painted her, while Josephine cannot recognize her young lover 
in this bronzed and bearded man. When it turns out that 
Dorothy, a younger sister of Lady E.'s, has written the letter 
supposed by Capt. Colerayne to be from Josephine, they all 
change partners, and make' up their minds that while " Child- 
hood's Dreams " were sweet, they are not to be compared to the 
deeper affections of maturity. 



COOL AS A CUCUMBER * 
A Farce m One Act, by W. Blanchard Jerrold. 

Time in representation, fifty minutes. Period, the present. Scene, a Drawing* 

room, 

characters. 

Old Barkins. Miss Jessy Honito 

Frederick Barkens (Ms Son). Wiggins (a Maid), 

Plumper. 

Costcmes, Modern. 



ANALYSIS OF PLAYS. 



39 



Plumper was one of Charles Mathew's great parts. The other 
characters have only to know their words well, Plumper makes 
the play. He is the individual who is " cool as a cucumber," in- 
troduces himself into Barkins senior's house, criticises the furni- 
ture, cnanges the positions of the pictures, orders lunch, makes 
love to the maid-servant, and makes himself generally at home. 
Frederick and Jessy are a walking lady and gentleman mutually at- 
tached : the old man does the stern parent and refuses his "blessing, 
though Plumper constitutes himself the audience and disapproves 
strongly of this out-of-date proceeding. The play is ended, the 
curtain descends, Plumper is left in front appealing to the au- 
dience against this disgracefully bad finale; when old Barkins 
relents the curtain goes up again, and the play ends with a 
comic blessing, Jessy and Frederick kneeling at old Barkins' 
feet, Plumper standing on a chair behind them and holding his 
open umbrella over the group. An excellent after-piece, quick 
and laughable, and easy to get up. 



COUSIN FLOBENCE* 
A Comedietta in Two Acts. 



Time in representation, thirty minutes. 

Act I., Scene. — A morning room. Window in flat, with garden oeycnd. En- 
trances b, and l. 

Act II., Scene. — Drawing-room at Lady Donntngton's arranged for a Soiree. 



Percy Aldeeson 
Jacob 
Me. Dodd. 
Me. Mudge. 



CHARACTEES. 

Lady Donnington. 
Adela. 
Teimmeb. 
Lady Towntalk 



Mes. Plottee. 
Miss Shaepsett. 
Florence Gaythoen. 



Costumes, Modern. 



Yery suitaole for a drawing-room. Lady Donnington is over 
head and ears in debt, and living on her expectations from a rich 
Indian uncle. Florence G-aythorn is in love with Percy Alder- 
son, who attends to her ladyship's business. She is a niece of the 
latter, and treated by her as a sort of dependent. The crash 
comes at last, and the old Indian uncle makes his appearance on 
the scene under the name of Mudge. He is disgusted with Lady 
D.'s selfishness, and announces Florence as his granddaughter 
and heiress, also giving his sanction to her union with Percy. 
But they take pity on Lady Donnington, and heap coals of fire 
on her head by extricating her from her embarrassments. 



40 



ANALYSIS OF PLAYS. 



A COUSIN TO THEM ALL.* 

A Comedietta in One Act. 

Time in representation tiventy-five minutes. 
Scene. — A Kitchen. 

CHAEACTEES. 

Sampson Stuffer (a Policeman). Belinda Bunkum {a Cook). 

COSTUMES. 

Samson Stuffer.— Blue uniform, long stuffed white gloves,[absurb beard, 
helmet, and truncheon. 
Belinda Bunkum. — Smart domestic dress, cap, etc. 

Short and good, in one scene. Only two characters — a police- 
man and a cook. Samson Stuffer has long held the position of 
cousin and sweetheart to a long procession of cooks in a certain 
household. He prides himself on being an accomplished lady- 
killer, and has enjoyed no end of good dinners in consequence. 
Belinda Bunkurn, a new cook, having been deserted and robbed 
of twenty pounds by a policeman, five years previous, does not 
succumb to his attractions, but chases him with a broomstick 
instead. They have a very laughable scene, after which Belinda 
recognises him as her own identical Samson, the purioiner of her 
heart and her savings, and Samson makes it all right by laying 
his hand and uniform at her feet. The family baby, which 
receives much rough treatment between them, is a source of 
much laughter. 



CEEATUEES OF IMPULSE, 
A Fairy Tale, by "W. S. Gilbert. 

Time in representation, about forty-Jive minutes. Scene, exterior of a country 
inn, country, trees, etc. 

CHAEACTEES. 

Martha {Landlady). 
Pipette {her Niece). 
A Strange Old Lady. 
Villagers. 

Costumes, Alsatian. 

The strange old lady is a fairy/ To revenge herself on all the 
other characters, who want to turn her out of the place because 
she pays no rent, and makes herself generally disagreeable, she 
bewitches them, and makes each one behave in the manner most 
displeasing to himself. Thus : Peter is not too brave — he goes 
on squaring up to every one, even the Sergeant, of whom he is 



Sergeant Exooque. 
Boomblehardt {a Miser). 
Peter (a young Farmer). 
Jaques (a Villager). 



ANALYSIS OF PLAYS. 



41 



desperately afraid ; the Miser has to offer his money to every one, 
and allow them to take it ; the Sergeant has to go ducking and 
dodging as if to avoid a blow ; Pipette, whose characteristic is 
modesty, has to run about crying " Kiss me!" to all comers; and 
Martha has to say, " Go away! get out of this!'' to all her cus- 
tomers. "When this is well carried out by each of them, and ail 
at once, it has a very absurd effect. The singing is a great addi- 
tion. It is altogether an amusing bit of nonsense, and very origi- 
nal. A room in an inn might be substituted for the out-door 
scene if more convenient. 



THE CEITIC. 
A Drama m Two Acts, by Kichaed Brinsley Sheridan. 

Time in representation, onehour. Periods, 1st, 1779; Id, 1588. 

Act I. — Scene I. — Dining-room. 

Act II. — Scene I. — On a stage — before the act-drop. 

Scene II. — Tilbury Fort. 

Scene III. — Act-drop. 

Scene IV. — A wood scene — a gothic chair on carptt in centre. 
Scene V. — Spanish and English fieets — seajight. 

CHARACTERS. 
Dangle. Under-Prompter. 
Sneer. Puff. 
Sir Fretful Plagiary. Mrs. Dangle. 

in the tragedy. 
Lord Burleigh. Don Ferolo Whiskerandos. 

Governor of Tilbury Fort. Servant and Sentinels. 

Earl of Leicester. First Niece. 

Sir Walter Raleigh. Second Niece. 

Sir Christopher Hatton. Confidante. 
Master of the Horse. Tllburina. 

Beefeater. 

COSTUMES. 

1st Part, 18th century. 2d Part, time of Queen Elizabeth, 

For an amateur management this comedy requires a formida- 
ble amount of scene-shifting and a large company. But it is not 
quite as bad as it looks, for many of the parts may be doubled ; 
and the nature of the piece being essentially burlesque, any short- 
coming or hitches in the scenery would be pardoned, and might 
be supposed to be done for effect. Everyone knows this laugh- 
able satire of Sheridan's— a really good Puff is indispensable. He 
has written a tragedy, "The Spanish Armada, " and he takes 
Dangle and Sneer to a rehearsal of it. Most of the characters in 
the tragedy have only a few lines each. Tiburina is the heroine, 
who goes stark mad in white muslin; the confidante only goes 
stark mad in white calico. Every word of this play is admirably 
comic; but it would, perhaps, hardly be appreciated by a small 



42 



ANALYSIS OF PLATS. 



country-town audience. People who are not, as a rule, play- 
goers, might not understand the comedy, and would not care for 
or laugh at the manager's difficulties. 



CKOSS PUKPOSES* 
A Comedietta in One Act. 

Time in representation, forty-Jive minutes. Scene. — Interior of a villa net 

Monaco. 

characteks. 

Colonel Henei de Beeabd (35 years The Vicomte de Babbebiche (22 

of age). years of age) . 

Maequis de Santa-Floba (70 years Madame Danishefe (a Young 

of age). Widow). 

Victobjne {a Servant). 

Costumes, Modern. 

''Madame DanishefF, a lovely widow, has come to the seashore, 
proposing to meet, and to marry there the man of her choice, 
Colonel Henri de Berard. She resorts to a trick to escape the 
persecutions of the Marquis and the Yicomte. The Colonel, 
arriving at this moment, also falls a victim to it, and supposes 
her false. They play at cross purposes for a while, when, at 
last, matters are at least happily explained. 



CEOSS PUKPOSES; 
A MISUNDERSTANDING. 
A Comedietta in One Act, by H. B. Farnie. 

Time in representation, thirty minutes. Scene. — A Kentish lane in summer. 
CHARACTERS. 

Cybil Haegbave Phillis Dainteee. 

Jack Fbeke. Jenny Fbeke. 

Costumes, Modern. 

This is one of a series of little plays now being issued by the 
publishers, and which cannot be too highly recommended for the 
use of amateurs. Selected with great care, they seem to us to 
meet a want long felt by dramatic clubs, who have great diffi- 
culty in finding plays, excellent in themselves, which are not too 
ambitious as to scenery, nor too onerous in their demands upon 
the performers. These plays, we think, will fill a place which 



ANALYSIS OF PLAYS. 



43 



has hitherto been vacant, and be as popular as they are interest- 
ing. 4 'Cross purposes" calls for only four performers, among 
whom the work is very evenly divided. The plot is the least 
part of it, as the dialogue is everything, but the amount of it is 
that two pair of lovers get very much mixed up, and reduce each 
other to the lowest depth of wretchedness and jealous misery, 
only to find out at last that it is all a mistake, and they have 
been playing at "Cross Purposes.'' 



A CEUMPLED HOSE LEAF * 
A Comedietta in One Act. 

Time in representation, forty- five minutes. Scene. — An elegantly furnished 
morning room. 

CHAEACTEES. 



General Manners, C. B. 
Horace Vaughan (a Young Barris- 
ter). 

Jack Walsingham (First Life 
Guards). 



Miss Harriett Beauchamp (Neice to 

General Manners). 
Miss Eosamond Barrington (a Rich 

Heiress). 
Mrs. Perkins (the Housekeeper. ) 



COSTUMES. 

General Manners. Walking costume, stiff collar. 

Horace Vaughan. Handsome square cut coat, satin vest and breeches, 
Bilk stockings, shoes and buckles, powdered wig, hat, sword, ulster coat. 

Jack Walsingham. Eiding costume, boots, spurs, whip. 

Miss Harriett Beauchamp. Fashionable morning costume. 

Miss Eosamond Barrington. The same, but of a different color. 

Mrs. Perkins. Black silk dress, grey hair, with curls at side, frilled cap, 
spectacles. 

A popular little play, in one act, on the sentimental order. 
Miss Eosamond Barrington, having all that anybody could ask 
to make her happy, and being determined, nevertheless, to be 
unhappy, imagines that Jack Walsingham, her fiance, and a fine 
fellow, does not really love her, so she rejects his hand, and is as 
miserable as possible. In order to overcome her obstinacy, Miss 
Beauchamp, Mr. Yaughan — who are also lovers — and General 
Manners, Jack's uncle, put their heads together and concoct a 
plot, which has very happy results, and which convinces the 
young lady of Jack's real and devoted love. Next to no trouble 
in the way of properties; a nicely furnished room being all that 
is required. 



44 



ANALYSIS OF PLAYS. 



DARK DEEDS. 

A Sensational Play, in Theee Acts. 

Time in representation, thirty minutes. Scene. — A drawing-room in Mrs. 
Armadale's house, 

CHARACTERS. 

Hubert Vavasour {Nephew to Mrs. Mrs. Armadale (a Widow Lady in 

Armadale). delicate health) . 

Collar (a Detective). Edith Marchmont (her Niece). 

Servant. 

Costumes, Modern. 

Here we have a melodrama for the parlor. It is not too long 
nor difficult to act so long as two ladies and a gentleman can be 
found to sustain the principal parts, and may be made very ef- 
fective. 

Mrs. Armadale is a wealthy woman in delicate health. Hu- 
bert Yavasour, her nephew and heir-at-law, has designs on the 
poor lady's life, and under pretense of taking care of her is ad- 
ministering slow poisons. Edith Marchmont, a niece, comes 
upon the scene in time to detect and circumvent the villain and 
baffle all his plans. There is quite a good sensational scene in the 
last act, where Vavasour comes to rob and, if necessary, to mur- 
der, the old lady. One scene answers for the whole play. 



THE DAUGHTEK OE THE STABS.* 

A Drama in Two Acts, by Shirley Brooks. „ 

Time in representation, one hour and forty minutes. 

Act I. — Summer. — Scene. — A handsome drawing-room in Mr. Hawkstone's 

country house; French windows c, looking upon garden and lawn. 
Doors r. and l.; fireplace with looking-glass over it, r. 3 e.; chairs, sofa 
and footstool. 

Act II. — Winter.— Scene.— The same as Act I.— but with a winter instead of 
summer background. Globes on table r., a small work-table in front of 
window. 

CHARACTERS. 

The Hon. Antony Hawkstone. Bacchus Beeswing (Butler). 
Mr. Crawley [of the firm of 1 ' Craw- Katharine Dalton. 

Icy, Trail & Slime," Solicitors). Mrs. Mountcataract [Housekeeper). 
Lieut. Ernest Dalton, R. N. Miriam (the " Daughter of the Stars "). 

COSTUMES. 

Hawkstone.— Act I. — Damask dressing gown, dark trowsers, slippers, 
dark wig and whiskers. Act II.— Frock coat, dress boots, 



ANALYSIS OP PLAYS. 



45 



Crawley. — Act I. — Black suit, gray wig, partly side swell whiskers. Act 
II. — Overcoat. 

Balton. — Bark trousers, yellow waistcoat, undress uniform coat. 

Beeswing. — Black coat and trousers, white waistcoat. 

Katharine* — Neat modern costume. 

Mrs. Mountcataract. — Bark silk dress, apron and cap. 

Miriam. — Act I. — Picturesque modern gypsy attire, dark petticoat and 
stockings, leather shoes, red cloak, yellow silk handkerchief round neck, 
gipsy hat or red handkerchief for head, skin darkened. Act LI. — Elegant 
morning robe, hair dressed, complexion lighter. 

A charming piece and one which we highly recommend. Char- £ 
acters excellent and highly suitable for amateur talent. 

Mr, Hawkstone, a gentleman of wealth, disinherits his nephew, 
Lieut. Ernest Dalton, for marrying against his wishes, and adopts 
instead Miriam, the daughter of a disgraced and discarded 
brother, now dead. This girl, supposed to have been stolen by 
gypsys in her childhood, has been brought up in all their ways 
and ideas of life. She is discovered and presented to Mr. Hawk- 
stone by Mr. Crawley, the lawyer and villain of the piece, who ' 
has his own purposes to serve. She both shocks and interests 
her uncle, who at once takes steps for her education. Ascertain- 
ing that her sudden prosperity has been built upon the downfall 
of Dalton, she refuses to accept it, recognizing in him one, who, 
a year previous, had rescued her in a situation of great peril. But 
she is induced to remain on the representation that by so doing 
she can protect Dalton' s interests and restore him to his uncle's 
favor. In the second act we find Miriam in love with Dalton 
and ignorant of his marriage, striving by study to fit herself to 
become his wife. She thinks by this means to restore his inher- 
itance. Meanwhile Mrs, Dalton, under the name of Miss Morn- 
ington, has come into the house as Miriam's governess. Hawk- 
stone becomes interested in her and wishes to make her his wife. 
At this juncture Lieut. Dalton appears and makes known to his 
uncle the flight of Crawley with many valuable documents, 
among which are the title deeds to the Hawkstone estate. Craw- 
ley, pursued by the officers of the law, takes refuge in Hawk- 
stone's house, and announces that Mrs. Dalton is really the niece 
of Hawkstone, and that he had substituted his own daughter, 
abandoned by him in childhood. Poor Miriam is in despair at 
seeing her hero and her home taken from her at one blow, but 
she is comforted by her friends, and the missing title deeds now 
turniDg up, Hawkstone asks his nephew's forgivenness, adopts 
Miriam on the spot, and all ends happily. Beeswing affords an 
excellent chance for a low comedian, and the whole is particu- 
larly well adapted to amateurs of talent. 



46 



ANALYSIS OF PLAYS, 



DAVID GAKKICK* 
A Comedy in Three Acts, by T. W. Eobertson. 

Time in representation, one hour and three-quarters. Period^ 1742. 

Scenes I. and II. — Drawing-room in Me. Ingot's house. Scene III. — Library 
in Garrick's house. 

{Action of the piece extends over two days.} 

CHARACTERS. 

David Garrick. Servants. 
Me. Simon Ingot (a rich old Indian). 



Squire Chivy. Ada Ingot (Me. Ingot's Daughter). 

Me. Smith, ) Mes. Smith. 



Me. Brown, > City Friends. Miss Araminta Brown. 

Mr. Jones, ) 

COSTUMES. 

Garrick and Chivy wear powder ; the City Friends must be showy and 
vulgar ; Ada appears in three costumes. 

Like most of the pieces Sothem played in, this is rather a one- 
part play, though Ingot, Chivy, and Ada have a good deal to do. 
The scenery and the properties — merely a few letters — make it 
very desirable for private representation ; but David Garrick re- 
quires a really good actor. The stage directions are wonderfully 
minute, including all the business and the relative positions of 
the performers on the stage : it is all so clearly expressed that 
^©ginners could understand it and avoid a block. The plot is 
^rery novel and interesting, the language witty ; and the whole 
plot is not only amusing, but touching and graceful. Mr. Ingot's 
daughter and heiress is intended to marry her cousin, Dick 
Chivy, a fox-hunting and drinking squire ; but, having fallen in 
love Vith Garrick, she objects strongly. Mr. Ingot throws him- 
self on Garrick's generosity and good feeling, and the actor un- 
dertakes to cure her of her infatuation; which he does by acting 
the drunkard, the bully, and the gamester: this (the second 
scene) is wonderfully effective. The city friends— Mrs. Smith, 
the mother of seventy children, Araminta, whose wonderful 
feather he flicks, Jones the stutterer, and Smith — are all scandal- 
ized. Ada suffers tortures of shame and grief at the downfall of 
her idol, but is completely deceived, and orders him out of the 
house. Chivy, coming in really drunk, lets out the whole thing, 
and, without knowing it, destroys his own chance. In the third 
act Ada goes to Garrick's house ; her father follows her and over- 
hears Garrick telling her to return and obey her father, which so 
pleases the old man that he gives his daughter to Garrick, who 
had loved her before he knew that she was Mr. Ingot's daughter, 



47 



ANALYSIS OF PLATS. 



or had given his rash promise. Ada's is a very graceful part ; 
she is soft and tender, and yet spirited. The other two ladies are 
comic. Chivy is a character part, and, taken by a good low 
comedian, may be made a great deal of. 



THE DAWN OF LOVE * 
A Comedietta in One Act. 

Time in representation, forty-five minutes. Scene. — A study in the house of 
Altne's mother. • 

CHARACTERS. 

Mr. Gilbert (aged 60). 
Roger (aged 30). 

Alike des Aulnois (Cousin o/M. Gilbert, aged 18). 
Susan (old Nurse of Altne's, aged 50). 

Costumes, Modern. 

A pretty little piece. Mile. Aline is left at home, in a country 
house, during her mother's absence in Paris. She is overcome 
by ennui, and longs for change. M. Eoger is then announced. 
He comes, ostensibly, to look at the property, which he 
understands is for sale. On seeing Aline he is struck by her 
grace and beauty, and makes love to her, after a charming 
fashion. It turns out happily that he is the gentleman selected 
by Aline 's mother as a husband for her daughter, and he takes 
this method of becoming acquainted with his future wife. 



DEAF AS A POST. 
A Farce in One Act, by John Poole. 

Time in representation, one hour. Period, 1820, or the present. 
Scene I. — A room in an inn. Scene n. — a room with a table laid for supper. 

CHARACTERS. 

Mr. Walton (Father of Sophy). Waiters. 

Tristram Sappy (engaged to Sophy). Sophy Walton. 

Captain Templeton (Amy's Brother). Amy Templeton. 

Crupper (an Hostler). Mrs. Plumply (Landlady). 

Gallop (a Messenger). Sally Maggs (Chambermaid). 

Costumes, Modern. 



48 



ANALYSIS OF PLAYS. 



Sappy was one of Liston's parts — his catchword is, "I don't 
like it!" He is a thoroughly ill-tempered idiot, whose good 
point is that he is rich, for which reason he is to marry Sophy 
Walton. His rival, Templeton, comes to the inn, affecting to be 
deaf as a post, and fixes himself at Sappy's supper-table, much 
to the indignation of Sappy. He also takes possession of Sappy's 
bedroom : there should be a flight of six steps at the back of the 
stage leading to this room, and a glass window through which 
the interior can be seen. If this is inconvenient it can be 
omitted. This farce is really laughable, and is the sort of thing 
to fetch the gallery; at the same time there is nothing objection- 
able in the plot or coarse in the dialogue. Sally Maggs is a 
chattering chambermaid; she, Sappy, and Templeton have the 
best parts. 



DEABEST MAMMA* 
A Comedietta in One Act, by "Walter Gordon. 

Time in representation, one hour. Period, the present. Scene, a draw- 
ing-room. 

CHARACTERS. 

Harry Clinton. Mrs. Breezely Fttssell. 

Nettle Croeer. Edith Clinton. 

Browzer. Mrs. Honeywood (a Widow). 

Jones (the Butler), 

Costumes, Modern. 

Harry and Edith are bride and bridegroom, Mrs. Fussell is 
dearest mamma. She sets every one by the ears, tries to turn 
Browzer (Harry's uncle — good old-man's part) out of the house, 
and causes all the servants to give warning. Mrs. Honeywood 
has a good scene with Croker, a woman-hater — she tries to make 
him propose to her. Old Browzer finally rids the house of dear- 
est mamma by making up a match between her and Cousin Towz- 
ler, who does not appear. Yery easy to get up, and not beyond 
the reach of beginners. 



DELICATE GROUND* 
A Comic Drama in One Act, by Charles Dance. 

Time in representation, one hour. Period, 1793. 
Scene. — a drawing-room in Paris, Action of the piece, one day. 



ANALYSIS OF PLAYS. 



49 



CHAKACTEES. 

Citizen Sangfeoid. Alphonse de Grandier. 

Pauline. 

COSTUMES. 
Time of the French Republic. 

A most easily-got-up play, presenting no difficulty of dress or 
scenery, and requiring only three actors ; but those three should 
be good ones. There are few plays better written, more interest- 
ing, or more sure to please than this. Sangfroid's name gives 
the idea of his character ; he is not even excited when Pauline, 
his romantic and high-flown wife, fancies herself in love with a 
former admirer, Alphonse, a Royalist like herself; and, like her- 
self, silly and fanciful. The play verges on "delicate ground," 
and if the part of Alphonse is played at all in earnest it makes 
this too obvious, and spoils the effect of the play. Alphonse is 
meant to be frivolous, and Pauline's attachment to him is chiefly 
assumed in order to rouse her husband from his calm. She does 
not succeed ; he shows himself willing— eager to obtain a divorce 
for her, and to marry her to Alphonse. She is extremely piqued 
at his conduct, and finds that she is devotedly attached to him, 
and does not care a rush for Alphonse, who is equally eager to 
renounce her. 



DIPOLMACY.* 

A Comedietta in One Act, from the French of Gustaye 

Droz. 

Time in representation, one hour. Scene, a library. 
CHARACTERS. 

Abbe le Rotjx. Bois de Gbollau (aprefecf). 

The Count. Man Servant. 

Leboyen (a Notary). ■ The Countess. 

Costumes, Modern. 

The Count and Countess consider themselves diplomatists of 
the first water, the Abbe le Roux is really such. The Count is 
endeavoring to secure his election as deputy, and also to purchase 
from the Abbe le Roux his little property of Las Herbiers, which 
is necessary to the Count, but of no intrinsic value. The man- 
oeuvres of the three to attain their respective ends are very enter- 
taining, and end in the triumph of the Abbe. 



50 



ANALYSIS OF PLAYS. 



DONE ON BOTH SIDES. 

A Farce in One Act, by J. Maddison Morton. 

Time in representation, one liour. Period, 1850, or the present. Scene — A parlor. 

CHARACTERS. 

Me. Whiffles. Mr. Pygmalion Phibbs. 

Mr. John Brownjohn. Mrs. Whiffles. 

Lydia. 

Costumes, Modern. 

The original cast was a very strong one — F. Mathews, Charles 
Mathews, and Buckstone. "Whiffles and his wife pretend to be 
rich and to have numerous servants, while in fact they do all the 
work themselves. They are anxious to marry their daughter 
Lydia, and succeed in securing Brownjohn. Pygmalion they 
treat with contumely, make him wait at table, etc. He turns 
out to be Lydia's wealthy godfather, a veterinary surgeon, whose 
chief object in life seems to be to say the name of his occupation. 
There is a dinner scene. All the characters are good and require 
good acting, as an hour is rather long to keep up the interest in 
a farce. There is ample scope for introducing u business." 



THE DOWAGER. 

A Comedy in One Act, by Charles Mathews. 

Time in representation, an hour and a quarter. Period, about 1790. SCENE. — 
Drawing room, open at the back, leading to a garden. 

CHARACTERS. 



Lord Alfred Lyndsay. 
Sir Frederick Chasemore. 
Edgar Beauchamp. 
Servant. 



The Dowager Countess of Tresll- 

LIAN. 

Lady Bloomer (Niece of the Countess). 
Margaret Beauchamp (Edgar's Sister). 



COSTUMES. 
Early part of French Revolution. Powder. 

Charles Mathews wrote the character of Lord Alfred for him- 
self, which means that it is an excellent light comedian's part- 
very quick and lively. The play depends on him and the 
Dowager— a lady who recalls Kate O'Brien in " Perfection, " 
young, pretty, and arch. The scene takes place at Lady 
Bloomer's house. She had invited a number of friends and meant 
to get up theatricals, when she receives a letter to say her aunt 
(whom she has never seen) is coming to pay her a visit. She 
gets rid of her friends, except the Beauchamps, and gives up the 



ANALYSIS OF PLAYS. 



51 



theatricals under the mistaken idea that her aunt is old and prim. 
Sir Frederick Ohasemore (Miss Beauchamp's adorer), by way of 
a joke, concocts a plan of getting an actress to personate the 
Dowager. The latter arrives before she is expected, finds out 
this plot, and carries it on . on her own account, and greatly to 
her own amusement, Edgar is the very shy lover, who can only 
blush when the object (Lady Bloomer) is present. Sir Frederick 
is an over-bold suitor by way of contrast. Lord Alfred and the 
Dowager have some excellent scenes. No properties and no 
difficulties of any sort. An excellent play for amateurs. 



THE DUTCHMAN IN IRELAND.* 

A Comic Sketch in one Act. 

Time in representation, twenty minutes. 

Scene. — Dusk. A ruined house, greater part of the roof gone. Broken win- 
dows u. E. k. Trap ai back of stage, with stairs leading from below. A 
table and rushlight l. c. Bundle of straw and blanket v. e. l. 

CHARACTERS. 
Gerald (an Irish Gentleman disguised as a Peasant). 

Major Hans Mansfeldt (a Butch officer in the service of the King of Eng- 
land). 

Pheltm (an Irish Peasant disguised as an old. woman). 

COSTUMES. 

Gerald — Old scarlet -waistcoat, patched old woolen jacket without 
sleeves, green cloth breeches, torn old hat. 

Major Hans Mansfeldt. — Light blue broad-skirted coat, trimmed with 
gold lace, yellow cloth breeches, buff sword belt, trimmed with gold lace, 
black slouch hat, bound with gold or with feather, high black boots, steel 
cuirass, brass spurs, straight flaxen wig, yellow gauntlets. 

Pheltm, — Chintz bedgown, brown patched petticoat, handkerchief over 
the head. 

A comic sketch. Major Hans Mansfeldt, a Dutch officer, buys 
an Irish estate on which he is not wanted. G-erald, an Irish gen- 
tleman, disguises himself as a peasant, and with the help of Pbelim 
disguised as an old woman, gives the Major so tremendous a scare 
that ht is glad to escape with his life, and give up being an Irish 
landlord. If it is not convenient to have a trap in the stage, the 
entrance can be made from the side, as if they came from another 
part of the garret. 



52 



ANALYSIS OF PLAYS. 



THE DANCING BAKBER* 

A Farce in One Act, by Charles Selby. 

Time in representation, one hour. 

Scene I. — A chamber in second grooves. Doors in flat R. and l. 

Scene II. — A drawing room. Another room lighted and decorated for a ball, 
seen through centre doors. French window c, at back of scene. Sofa, easy 
chairs, chandeliers, etc. Windows, with curtains, b. and l. s. e. 



CHARACTERS. 



Lord Flitteely (a Mysterious Noble- 
man), 

Lord Minclngton (an Affected Noble- 
man). 

Alfred Fltzfrolic (an Extravagant 

Gentleman). 
Mr. Snaply (an Irascible gentleman). 
Narcissus Fltzfrizzle (a Would-be 

Gentleman). 

Ladies and Gentlemen, Guests and Dancers 



Dunderhead Twaddle (a Pottering 

Gentleman). 
Catchem (a Sheriff's Officer and no 

Gentleman). 
Two Policemen. 
Lady Flitterly (a Fine Lady), 
Mrs. Snaply (a City Lady). 
Betty (a Servant of all work). 



COSTUMES. 

Lord Flitterly. — Fashionable evening suit. 

Lord Mincington. — Full dress, extreme of modern fashion. 

Alfred Fitzfrolic. — First dress, Dressing gown. Second dress, Black 
trousers, velvet waistcoat, blue or black coat, light dress-wig, small black 
xnustachios. 

Mr. Snaply. — Brown modern old man's coat, white waistcoat, black 
trousers, natural grey wig. 

Narcissus Fitzfrizzle. — First dress, Brown coat, metal buttons, fancy- 
waistcoat, with white sleeves, nankeen trousers. Second dress, Light-blue 
coat in the extreme modern fashion, velvet collar and cuffs, metal buttons, 
extravagant brown satin or figured velvet waistcoat, black trousers, silk 
open-worked stockings, large black satin stock, gilt watch chain round neck, 
crush hat, light dress wig, small black mustachios. 

Dunderhead Twaddle. — Old man's modern black coat, large white neck- 
cloth, black velvet waistcoat, gold buttons, tight black pantaloons, pumps 
and silk stockings, thin powdered hair with small tail, a great deal of pow- 
der on the collar of his coat. 

Catchem. — Respectable great coat, trousers and round hat. 

Lady Flitterly. — Fashionable full dress. 

Mrs. Snaply. — Same as Lady Flitterly. 

Betty. — Modern house servant's dress. 

This is a lively farce. Fitzfrizzle, a barber and would-be gen- 
tleman, manages to gain entrance as a guest at a ball in high 
life. He is mistaken for somebody else, and all the characters 
fall into a happy state of confusion and bewilderment; which 
serves as a medium for much fun. 



ANALYSIS OF PLAYS. 



53 



AN ELIGIBLE SITUATION. 



An Eccentricity in One Act, by Thomas Archer and J. C. 
Brough. 



Scene. — Evening. The stage divided. On b. h., interior of drawing-room. 
Table covered with fancy articles, needlework, dolls, etc. On L. H. and 
on other side of partition top of scaffolding seen just above the stage. 
Board attached to one of the poles, with words, " To be sold — Eligible 
Situation." In partition, practicable window communicating with room 
and scaffold. 



Miss Pigeon [A single lady, living semi-detached). 
Bertha {Her neice, with a decided attachment). 

Mrs. Skillet {A lady of vigorous principles, with a talent for ** cuttin '). 

Mrs. Smallboy. 

Miss Keggs. 

Susan (A parlor-maid). 

Kobert Smallboy, Esq. (A victim of circumstances, a prey to mystery). 
Erank Verditer {An artist, with an eye to the beautiful). 
Cuffs, alias Walker (A member of the guild of artful science). 
Potboy, Policeman, Bodiless Voices of the Drama and the Night. 



A laughable farce. Excellent part for low comedian. Small- 
boy is a jealous husband, always spying upon and suspecting his 
wife. Mrs. S. visits some people who are working for a fair, and 
Smallboy, immediately suspicious of something wrong, clambers 
up on a scaffold outside the window to watch her. But retribu- 
tion lies in wait for him. His misadventures and distresses on 
this airy and hazardous perch must be seen to be thoroughly 
appreciated. The other characters are good, with the usual 
accompaniment of a young couple, who are made happy in the 
end. 



A Farcical Comedy in Three Acts, by W. S. Gilbert. 

Time in representation, two hours and fifteen minutes 

Scenes.— Act I. — Landscape in flat. Inclined platform from u. e. l. too. of 
stage, masked by piece representing a bridge over a brook. 
Act II. - -Plain, well-furnished apartment. 
Act III, — Same as Act II. 



Time in representation, forty minutes. 



CHARACTERS. 



Costumes, Modern. 



ENGAGED. 



characters. 



Chevoit Hill. 

Belvawney. 

Symperson. 



Belinda Treherne. 

Minnie {Symperson' s Daughter). 

Mrs. MacFarlaine, 



54 



ANALYSIS OF PLAYS. 



Major MacGlllicudy. Maggie. 
Angus MacAltjstkr. Pakkee, 

COSTUMES. 

Angus and Maggie, Scotch peasants' dresses. All the others modern 

dress. 

One of the very best of the plays produced by this talented 
author — Gilbert. People love to see the mirror held rip to the 
weaknesses and shortcomings of their fellow creatures, and this, 
perhaps, is one of the elements of the great success which has 
attended this play. The characters are all thoroughly selfish 
and mercenary, and the naivete with which they act and speak 
their natures, together with the lofty sentiments which they 
affect, form a curious medley which is truly irresistible. The 
sarcasm is good-natured, however, and the dialogue is so pointed 
and witty that the audience is kept in a ripple of laughter. The 
plot is the least part of it, and turns upon the marriage laws of 
Scotland. Mrs. MacFarlane, living on the border, arranges with 
her future son-in-law (Angus) to wreck a railway train that the 
passengers may seek shelter in her cottage and their money in 
her pocket. The plan succeeding, Belinda and Belvawney make 
their appearance. She has run away from Major MacGillicuddy, 
whom she was to have married that morning, hav'ng ascertained 
that Belvawney had a thousand a year. Belvawney wants to secure 
her five hundred, because this income is only his as long as he 
keeps Cheviot Hill from marrying. If he fails the money goes 
to Cheviot's uncle (Symperson), who has a daughter Minnie who 
is anxious to marry Cheviot's two thousand a year. Cheviot's 
weakness is to fall in love with and propose to every woman he 
sees, so he engages himself to Minnie, to Maggie MacFarlane 
and to Belinda in quick succession. Major MacGillicuddy ap- 
pearing at this juncture, pistol in hand, Cheviot declares, in order 
to protect her, that Belinda is his wife, and as she corroborates 
the statement, they are married, according to Scotch law, though 
they are ignorant of the fact at the time. In the second act 
Cheviot's marriage with Minnie is about to take place when 
Belinda, who is hunting her lost husband, appears, recognizes 
and claims him. To complete his troubles Maggie, who has 
heard that the MacFarlane cottage is in England, claims him; slso, 
as belonging to her. Then the news comes that his property is lost, 
and none of them want him. But this is only a fabrication of 
Belvawney' 3. Things are in a worse turmoil than ever, and are 
only settled by the arrival of accurate intelligence that, while 
the cottage was in England, the garden, where the marriage took 
place, was in Scotland. So they pair off— Belinda and Cheviot, 
Belvawney and Minnie, Maggie and Angus. The bridge and the 
brook, in the first act, can be dispensed with if necessary. 



ANALYSIS OF PLAYS. 



55 



A FAIR ENCOUNTER 
A Comedietta in One Act, by C. M. Rae. 

Time in representation, about half an hour. Period, the present. Scene. — 
Lady Clara's Boudoir. 

CHARACTERS. 

Lady Clara St. John. Mrs. Celia Grenvtlle. 

Costumes, Modern. 

A pretty little play for two ladies. There is a musical version 
of it called " My New Maid. v ' The plot is that Mrs. Grenville's 
brother has fallen in love with Lady Clara, a lively young widow; 
and the sister, being anxions to find ont the disposition of Cyril's 
fiancee, goes to her house in the character of lady's maid. She 
makes a very indifferent servant, and betrays that she can play 
the piano, sing French songs, and speak Italian. A note from 
Mr. Grenville informs Lady Clara who her new maid is, and she 
takes her revenge for having been privately inspected by tor- 
menting her future sister-in-law with great ingenuity. This play 
requires nothing but good acting, and could be got up, on an 
emergency, in a few hours. 



FAIRY FREAKS. 

A Fantastic Play in Three Acts. 

Time in representation, thirty minutes. 
Act I.— Scene— A wood. 

Act II. — The inside of Grump's house. Supper laid out on the table. 
Act III. — The same as in Act I. 

CHARACTERS. 
Oberon (King of the Fairies). 
Titania (Queen of the Fairies). 
Puck (an intelligent official in their Court). 

Good Temper, Rosy Cheeks, Playful, Mischief, etc. (Subordinate Fairies). 
Grumps (a sulky mortal). 

COSTUMES. 

Grumps should appear as an elderly man of the present epoch ; in his 
case all fancy costume should be avoided. The Fairies should be dressed, 
the little girls in white muslin frocks, with tinsel stars on their front hair, 
and with peeled stickp in their hands to serve for wands ; the boys also 
should be in white, but without wands. Wings can easily be constructed 
for them in a few minutes by tacking white gauze over a whalebone frame. 
Puck is to be dressed like them in the first act, and in his ordinary dress in 
the second and third, when he is supposed to be disguised as a mortal child. 

A play for the young people, in rhyme, and not difficult. It 
introduces King Oberon and Queen Titania, with their prime 



56 



ANALYSIS OF PLATS. 



minister, Puck. The fairies being disgusted with the selfish ill 
humor of a sulky mortal named Grumps, serve a number of 
frolicsome tricks upon him, which bring him at last to his senses, 
and decide him never to be churlish more. The play conveys an 
excellent lesson without any stupid moralizing. 



FAMILY PICTURES.* 
A Farce in One Act, by E. Stirling. 

Time in representation, fifty minutes. 
Scene, A Studio, or Handsome Apartment in the House of Ma. Mummery. 
CHARACTERS. 



Mr. Mummery (an Old Citizen). 
Major Osborne [a Gay Spark). 
Harry Knowles (his Friend). 
Pickles (a Man Tiger). 



. Miss Kezia Mummery (a Votary of the 

Arts). 

Charlotte Mummery (a Dashing 

Belle). 

Lucy (a Sentimental Blonde). 
Jumps (a Lady's Own Maid). 



Costumes, Modern. 

An amusing farce illustrating the manner in which two young 
gentlemen induce the father of their respective sweethearts to 
listen to their suits. Miss Kezia Mummery, a votary of the fine 
arts, is a good part. There are also two good servant's parts. 



THE FAST FAMILY* 
A Comedy in Four Acts, by B. Webster, Jr. 

Time in representation, three hours. 

Acts I., II. and III.— Scene.— A room in Benoiton's house at St. Cloud, 

very elegantly furnished. 

Act IV.— Scene.— A room, handsomely furnished, in Clotilde's house. 
Scene.— St. Cloud, near Paris. Time.— 1866. 

characters. 

Champrose (a man of fashion, cool, calm and collected.) 
Benoiton la pompous, successful tradesman). 
Formichel (a vulgar, rich tradesman). 

Prudent (a cold, calculating man of business, son to Formichel). _ 
Didier (husband to Blanche, good-hearted and easy, but suspicious and ob- 
stinate). 

Poltdore (cool, fast, and impertinent ; about 16 years of age. Benoiton s 
eldest son). 

Francois (nephew to Benoiton. Sly and subdued in manner). 
Fane an (Benoiton's youngest child, about 7 years of age ; very practical and 
self possessed). ... 
Muller (a tradesman). 



ANALYSIS OF PLAYS. 



57 



Architect. 
Servant. 

Clotiede (a woman of the world; a rich widow, sister-in-law to Didier. 
Cool and hard). 

Blanche [wife to Didier, eldest daughter to Benoiton; vain and affected at 
first, but afterwards evincing extreme feeling t . 

Bose (Besoiton's second daughter ; fast, but amiable and good-hearted). 

Camille (Benoiton's youngest daughter ; very fast. Addicted to racing). 

Adolphine (an old maid, spiteful and malignant, but assuming a very youth- 
ful demeanor). 

Josephine (A lady's maid). 

Julie ( do. do.) 

COSTUMES. 

Champrose. — First Act, Morning dress. Second Act, Ditto. Third Act, 
Evening dress. Fourth Act, Morning dress. 

Benoiton. — First Act, Rich dressing gown, slate-colored trousers and 
■waistcoat. Second Act, First dress, Same as Act I. ; Second dress, Brown frock- 
coat, etc. Fourth Act, Black coat and trousers, white waistcoat and neck- 
tie, black Gladstone hat. 

Formichel. — Long stone-colored coat, white waistcoat and neck-tie, brown 
trousers, large white hat, and very bald head. 

Prudent. — First and, Second Acts, Tweed tourist suit, and hat of same ma- 
terial. Third and Fourth Acts, Black frock coat, white v/aistcoat, gray- 
trousers, black hat, red neck-tie, and small moustache and imperial. 

Didier. — Black cutaway coat and waistcoat, gray trousers, and black hat. 

Poltdore. — Second Act, Black velvet Knickerbocker suit, high boots, 
and pork -pie hat. Third and Fourth Acts, French schoolboy's dress and 
cap. 

Francois —Morning dress, neat and quiet. 

Fanfan. — Boy's dark gray Knickerbocker suit and cap. 

Muller. — Plain suit. 

Architect.— Plain suit. 

Servant. — Livery coat and waistcoat and black trousers. 

Clotilde. — Blue silk, trimmed with lace ; bonnet and lace shawl. Fourth 
Act, Plain white dress. 

Blanche. — First Act, First dress, Scarlet velvet jacket, white silk body, 
and blue silk skirt ; Second dress, White cashmere, trimmed with peacock's 
feathers, with long train. Fourth Act, Plain white dress, bonnet, etc. 

Rose. — First Act, First dress, Pink silk ; Second dress, Black velvet body, 
covered with steel beads, muslin sleeves, gray silk skirt looped up all round, 
blue and white striped silk beneath hrst skirt, a species of Hessian boots, 
reaching to the calf of the "leg, and three-cornered hat trimmed with white 
feathers. Third and Fourth Acts, Plain brown silk. 

Camllle. — First Act, Amber-colored silk. Second Act, White cashmere 
body and skirt, trimmed with gold and silver fringe, looped up all round ; 
under-skirt trimmed with gold and silver fringe, with two brown horses' 
heads in front ; boots same as Rose, and pork-pie hat, with gold and silver 
plume. 

Adolphine. — Green muslin dress, long ringlets, hat, etc. 
Josephine. — Lady's maid's dress. 
Julie. — Ditto. 

Notwithstanding the length of this piece, it requires, in the 
way of scenery, but two drawing-room sets and but few proper- 
ties. A fine opportunity for good actors, and all the parts ex- 
cellent. The fast family seems to be given over to evil courses ; 
the old ones to sordid" money-getting, the young ones to horse - 
racing, gambling, and wild extravagances. Of course they all 



58 



ANALYSIS OF PLATS. 



reap the consequences thereof, and some of them have sense 
enough to mend their ways and start fresh. The interest, which 
is sustained to the very end, centres about an imprudent, but not 
guilty, wife, who becomes involved in a tangle from which she 
is powerless to extricate herself. Through the exertions of a 
faithful friend all comes right at last. The dialogue is curt and 
witty, and the situations telling. 



FXBESIDE DIPLOMACY. 
A Comedietta in One Act, by Charles S. Cheltnam. 

Time in representation, thirty minutes. Scene. — A drawing-room in Mr. 
Florestan's house, elegantly furnished. 

CHARACTERS. 

Me. Reginal Floeestan. Mes. Floeestan. 

John. . Miss Eveeslay. 

Costumes, Modern. 

A little domestic drama. Mrs. Eyerslay browbeats her hus- 
band and Mrs. Florestan coddles her's. Both of them do it on 
principle. The subject is treated in a manner that will be agree- 
able to every masculine mind. Mr. Florestan does not deserve 
so much unselfish kindness on the part of his wife, but is at 
last overcome by it and made to feel some genuine shame at the 
contrast between himself and her. It is needless to say that 
coaxing triumphs while coercion goes to the wall. 



FXTZSMYTHE OF FXTZSMYTHE HALL. 
A Farce in One Act, by J. Madison Morton. 

Time in representation, about three-quarters of an hour. Period, the present. 

Scene. — Gothic apartment, with old portraits of men in armor, etc. Oriel 
window. 

CHARACTERS. 

FlTZSMYTHE OF FlTZSMYTHE HALL. SECOND CeICKETEE. 

Feank Tottenham \a Young Farmer)* Boy {small and common). 

Geegoey (a Footman). Mes. Fitzsmythe. 

Fiest Ceicketee, Penelope [their daughter). 

Costumes, Modern. 

Fitzsmythe's real name is Snoggins. He has bought the prop- 
erty and assumed the name of the ancient house. This is a good 
low comedian's part. Frank (in love with Penelope) comes dis- 



ANALYSIS OF PLAYS. 



59 



guised as the last of the old line. A lively light comedian should 
take this role. Gregory is a low-comedy servant with a west- 
country accent. The cricketers have only line parts, and the 
little boy chiefly howls. Mrs. Fitzsmythe is a capital old woman 
and Penelope is neither insipid nor vulgar , like most farcical 
yonng ladies. This is really an amusing farce, but the prompter 
has no light task if he undertakes all the smashes and crashes, 
cricket-ball thrown on the stage, shouting and tally-ho-ing. The 
number of properties is formidable, and includes a dead turkey- 
cock and a family tree— a long strip of parchment on rollers. 
Fitzsmythe appears in three costumes. First, shooting-coat, 
etc.; second, yoemanry jacket; third, cricketing flannels, showy 
striped shirt, etc., and a puffed face. His wife appears first in 
a cotton gown and Holland apron, then in a tartan dress and a 
turban with feathers. Though troublesome, all these changes, 
and the oak-panelled room, make this farce effective. 



FOLLOW THE LEADER 
A Comedy in One Act, by C. M. Eae. 

Time in representation, one hour. Period, the present. Scene. — A drawing- 
room, 

CHARACTERS. 

Mb. Heney Wilson. Amelia Baeeington {a Young Heiress). 

Constance {Mrs. Neville). Fanny (Mrs. Neville's Maid). 

Costumes, Modern. 

The success of the piece depends on Constance, one of Mrs. 
Stirling's parts. Mr. Wilson must be intensely common-place. 
Constance makes up a match between him and Amelia by invent- 
ing some wonderful romances about him, which he (being utterly 
unconscious of) makes more thrilling by his unemotional 
demeanor. Every woman falls in love with him, according to 
Mrs. ISTeville, and Amelia follows the leader. A play like this, 
without dresses or scenery, requires lively acting. There is no 
other difficulty about it. 

THE FOOL'S REVENGE* 
A Drama in Three Acts, by Tom Taylor. 

Time in representation, about two hours. Period, 1488. 

Act. I. — Scene. — A logqia opening on gardens, which are illuminated. View 
of Faenza — moonlight. 



60 



ANALYSIS OF PLAYS. 



Act II. — Scene I. — A room hung with tapestry. Scene II. — A street near the 
Church of San Stefano. Scene III.— Exterior of Malatesta's palace. A 
window on first floor, with a balcony ; practicable. 

Act III. — Scene. — A room ornamented with arbesques. 

Action of piece extends over two days. 

CHARACTERS. 

Galeotto Manebedi (Lord of Fosnza). Ascanio (a Page). 

Guroo Malatesta (an Old Condotiore). Francesca ( Wife of Manfredi). 

Bertuccio (a Jester). Ginevra ( Wife of Malatesta). 

Seraeino dell' Aquila (Poet). Fiordeliza (Daughter of Bertuc- 
Baldasare Torelli, ) tJVohJp*) Cl0 '' 

Gian Maria Ordelaefi, ) ^ '* Brigitta (Bertuccio's Servant). 
Bernardo Ascolti (a Florentine 
Envoy). 

Costumes, Italian. Time of Raphael. 

This powerful and interesting play is qnite beyond the range of 
ordinary amateurs. An actor with a very unusual amount of 
force and passion is required for Bertuccio, the despised and 
deformed jester. To revenge himself on Guido Malatesta, who 
had robbed him of his wife, he persuades the Lord of Faenza 
that he loves Ginevra, Malatesta's wife, and assists him in a plot 
to carry her off. G-uido, suspecting danger, has sent his wife to 
his strong castle at Cesena. Fiordelisa, Bertuccio's daughter, is 
carried off in her stead, Bertuccio helping. The stage is quite 
dark during this scene — Act II., scene 3. In the last act the 
Duchess (brought there by Bertuccio out of hate to the Duke) 
poisons a flagon of wine, which is taken into the inner room, . 
where are ■ Manfredi and, as they think, Grinevra. Manfredi 
drinks it and dies. Bertuccio discovers that it is his own 
daughter whose destruction he has been compassing. A situa- 
tion so tragic calls for an intensity of passion not often to be 
met with. Francesca requires a lady tragedian of considerable 
power, while Fiordeliza is an exquisitely tender creation. The 
scenery is lovely, but could only be managed by amateurs when 
having the use of a regular theatre. The dresses are most 
effective, and belong to a period not very often represented. It 
would be useless to attempt this play without a very strong 
company, a well-appointed theatre, and a great many more 
rehearsals than amateurs usually content themselves with. 



FORESIGHT;* OR, MY DAUGHTER'S DOWRY. 

A Comedy in Two Acts, from the French of Ernest 
Legotjve. 

Time in representation, one hour and fifteen minutes. Scene. — Drawing-room 
in the Mansion of M. Desgranges. * 



ANALYSIS OF PLAYS. 



61 



CHARACTERS. 
Monsieur Desgranges (Aged 62}. . John (A Servant). 
Father Boteb, (Aged 72 — Agent of the Madame Desg-ranges (Aged 49). 

Marquis of Ormoy). Madelalne Desgranges (Aged 17.) 

Henri Grandval, (Aged 19). Julie (A Servant.) 

Costumes, Modern. 

Monsieur Desgranges is a man who has made np his mind not 
to enact the part of Xing Lear. His wife thinks him very heart- 
less to refuse to give his daughter, Madelaine, more than one 
hundred thousand francs dowry. After the marriage of Made- 
laine, he still, to the immense disgust of his wife, who would 
gladly give them everything, persists in keeping the young peo- 
ple on short commons, and letting them paddle their own canoe 
as they best can on a limited income. Being naturally extrava- 
gant they get into difficulties, and, matters coming to a crisis, 
the mother is about to dispose of the family diamonds, when 
Monsieur Desgranges comes to the rescue and shows a true pa- 
ternal care for his children, and demonstrates the wisdom of his 
course. His knowledge of human nature and his bits of worldly 
wisdom ; with which he favors his wife, are very entertaining. 



FUNNIBONE'S FIX. 
A Farce in One Act, by Arthur Williams. 

Time in representation, forty minutes. Scene. — Office of the " Slushington 
PipeLighter," Editor's Room. 

characters. 

Septimus Snub well. Mr. Wineleters. 

Ferdinand Funnebone Me. Russetblue. 

Cecil Corker. Widow Smith. 

Printer's Boy. Milly Snub well. 

Costumes, Modern. 

An unusually good farce. Septimus Snubwell is a country 
editor with a daughter Milly. He thinks by an infusion of young 
brains to increase the circulation of his sheet, and engages a sub- 
editor. This gentleman arriving in Snubweirs absence, Milly, 
steals' his credentials for her lover, Ferdinand Funnibone, and in- 
sists on his writing copy for the paper. Ferdinand, who neither 
knows what to do nor how to do it, gets off some doggerel verses, 
making fun of people in the village, and it is not long before the 
avenger is upon him, and he is mobbed by the whole of the in- 
dignant characters, including the real sub-editor. It is only after 
a very laughable scene that Milly intercedes, rescues poor Ferdi- 
nand, and arranges matters to the satisfaction of all parties. 



62 



ANALYSIS OF PLAYS. 



FURNISHED APARTMENTS* 

A Comic Interlude in One Act. 

Time in representation, fifty-five minutes. Scene, Parlor in Dr. Planus' 

house. 

CHARACTEES. 

Br. Planus (a Surgeon- Apothecary , with a large house and limited practice, 
desirous of improving his income by taking a Single Gentleman to board and 
lodge). 

Mr. Romeo Theodore Fuggles (assistant to Doctor Planus, and partial 
to the study of Music and Mnemonics). 

Mr. Magnus Smith (a Gentleman having a great id a of his own importance, 
and a small portmanteau, just arrived in town on business of vast consequence). 

Mr. Telemachus Thompson (with weak nerves and a carpet-bag, from the 
Provinces — of retired habits, and delighting in mystery). 

Cephalus Squill (a well-educated youth, with respectable connections and 
carroty hair, officiating as Page, Groom and Errand Boy, in Dr. Planus' estab- 
lishment). 

COSTUMES, 

Planus.— Suit of black, with white cravat and silver-mounted walking- 
stick. 

Fuggles. — Suit of black, waistcoat and cravat optional, eye-glasses or 
spectacles. 

Smith. — Travelling dress, rather fast ; very small portmanteau. 
Thompson. — Travelling dress, quiet and grave ; carpet bag. 
Squill. — First dress, Cotton jacket, apron, and red wig. Second dress, 
Page's suit. 

A comic interlude, and very popular. Dr. Planus lets his suite 
of rooms to Mr. Telemachus Thompson, when they have already 
been let by his assistant, Fuggles, to Mr. Magnus Smith. These 
gentlemen, coming home at the same hour, a very laughable 
scene ensues. 



GETTING UP IN THE WOELD ; 

OE, THE YOtHSTGr PEETEKDEE. 
A Comedy in One Act, by Arthur Sketchley. 

Time in representation, forty-five' minutes. ^ Period, 1746.- Scene, A saloon 
handsomely furnished. 

CHARACTERS. 

Sir Everard LVArcy. Two Footmen. 

Moulds (a butler). Lady D'Arcy. 

Lord Allstdes. Lizzie (a waiting maid). 

Charley {a street boy). Lady Amaranth (Lord Allsides' 

Officer. daughter). 

Sergeant. 

Guests, Soldiers, Etc, 



ANALYSIS OF PLAYS. 



63 



COSTUMES. 

Snt Everard D'Arcy. — A handsome scarlet, blue and gold square-cut 
suit, high boots, spurs, lace, etc., bag wig, three-cornered hat. 

Moulds. — A plain brown velvet square-cut suit, shoes, buckles, silk 
stockings, lace ruffles, bag wig, etc. 

IjObd Allsides.— Square-cut suit, ruffles, cravat, shoes and buckles, old 
man's powdered wig and bag. 

Charley. — Plain blue square-cut suit with gilt buttons, shoes, buckles 
and stockings, bag wig, cravat, etc. 

Officer. — Military coat and boots of the period. 

Sergeant. — The same. 

Soldiers. — Plain red coats. 

Footmen. — Old-fashioned liveries. 

Lady DArcy.— An old lady's brocade dress of the period, lace, etc., pow- 
dered wig. 
Lizzie. — A waiting maid's tuck -up dress. 

Lady Amaranth. — Blue satin dress of the period, white wig, powdered, 
patches, laces, etc. 

Charley, a street boy, is pursuing his pigeons over the roofs, 
falls down the chimney of Lady LVArcy's town house. Her 
ladysnip, a violent Jacobite, mistakes him for the young Pre- 
tender in disguise, and resorts to various devices to shield him 
from discovery. She is obliged to make a confident of Moulds, 
her butler, who betrays the secret to Lord Allsides and also to 
the military, who came to search the house, when Charley's true 
character became apparent. His antics and vulgarity, while 
being taken for the Prince, are very comical. This part" requires 
a good actor. The sentiment of the piece is represented by Sir 
Everard D'Arcy and Lady Amaranth Allsides, whose father at 
first opposed, finally gave his consent to their union. 



THE GIRLS OF THE PERIOD. 

A Parlor Play in One Act. 

Time in representation, twenty-five minutes. Scene. — A drawing-room. 
CHARACTERS. 

Count de Vaurien. Polly. 

Mr. Sykes. Arrabella (niece to Sykes). 

Charley Goahead. Sarah (a servant). 

Fred {nephew to Sykes). 

Costumes, Modern. 

This play is one scene only, can be gotten up at short notice, 
and acted in any parlor. It describes how Polly and Arrabella, 
the u Girls," play a practical joke on the latter's uncle, Mr. 
Sykes, and a Frenchman, who is looking for a rich English wife. 
They dress Arrabeila's brother Fred in her clothes, and his treat- 
ment of his suitor produces some comical situations. The way is 



64 



ANALYSIS OF PLAYS. 



finally opened for the entrance of Charley G-oahead, Arrabella's 
lover, and Mr. Sykes, who has heretofore been obdurate, is in- 
duced to give them his blessing. Yery suitable for amateurs, 
and characters all good. 



A GLASS OF WATER. 

A Comedy m Two Acts from Eugene Scribe, adapted 
"W. E. Suter. 

Time in representation one hour and three-quarters. Period, 1704. 

Scene I. — Saloon in St. James's Palace. 

Scene n. — Another Room, with Balcony at back. 

CHARACTERS. 



lokd bolingbroke. 

Arnold Vavasour. 
Marquis de Toisy {Louis XIV. ths 
Envoy). 

Musgrave, ) Gentlemen of the 
Lovegrove, j Court. 
Marsham {in the Queen's House- 
hold). 



Queen Anne. 

Duchess of Marlborough. 
Alina Churchill {Cousin of the 

Duchess) . 
Abigail 'a Servant in the Queen's 

Household). 



Costumes should be very handsome. Time of Queen Anne. 

This play had had considerable success in its French and Ger- 
man versions. The plot is interesting, but the comic element is 
rather small. It consists in the loves of the two silly young 
courtiers for Abigail ; each of them bribes Marsham to assist him 
in his suit. Marsham takes the money and marries the young 
woman himself. Bolingbroke and the Duchess of Marlborough 
are pitted against each other ; the wily statesman succeeds in 
overthrowing the power of Anne's favorite friend. Arnold and 
Alina are two young lovers ; the Queen takes a considerable in- 
terest in the young man, so does the Duchess, which leads to 
complications. The ladies have all good parts. Alina is tender, 
Abigail saucy, the Duchess haughty, and Queen Anne uncer- 
tain — perhaps the most interesting of all to an actress. This 
piece requires good acting, or it might drag and be rather heavy. 
There are no technical difficulties, and the same scene would do 
throughout. 



ANALYSIS OF PLAYS, 



GOING THROUGH HIM* 

A Monologue in One Act. 



Time in representation, Jifteen minutes. Scene, A Parloi 

CHARACTER. 

Alfred Henriqttes (age 28, fast and liberal). 

Costume, Modern. 

Mr, Alfred Henriques, a fast and liberal young man, indulge; 
in a morning soliloquy, after a superabundance of champagne on 
the previous evening. 



GOOD-FOE-NOTHING * 

A Comic Drama in One Act, by X B. Btjckstone. 

Time in representation, forty minutes. Period, the present. Scene, A Room 

in a Cottage. 

CHARACTERS 

Tom Dibbles (a Gardener). Young ¥e. Simpson, 

Harry Collier (a Railway Fire- Servant, 

man). 

Charley {a Carpenter), Nan< 

costumes. 

Tom Dibbles. — Einen check jacket, green striped double-breasted waist- 
coat, corduroy trousers, and old black hat, thick bluchers. 

Harry Collier. — Pilot coat, over a corded jacket, waistcoat, and trousers, 
black hair and whiskers, fur cap, Wellington boots. 

Charley. — Neat working carpenter's jacket, apron and trousers, brown 
paper cap, 

Simpson. — First Dress — Fashionable colored coat, white hat, trousers etc.; 
Second Dress — A double dress, the fac simile of the first, the coat split up 
the back, and covered with dirt. 

Nan. — Firs' Dress — Dark-colored cotton frock, pinafore, flaxen hair, quite 
rough and straight across the forehead, laced boots, white stockings. Second 
Dress — The Pinafore taken off, Jie, hair nicely combed and parted, littlef 
straw bonnet, with cherry-colored ribbons. < 

Fan, a young girl adopted, by Tom and Harry, is the good-for- 
nothing who, at the end, turns out to be good for a great deal. 
She is a hoyden, given to hop-scotch and games with the street 
boys; she comes on with her frock torn, one boot unlaced, etc.; 
but she resolves to amend her ways, to please Charlie, and tidies 
herself up — washes her hands, brushes her hair with a shoe brush 
— "better than none," and makes herself look nice. She gets 
some money by saving a child from drowning, which she gives 



66 



ANALYSIS OF PLATS. 



up to save her father, Tom and Harry, from being arrested for 
failing to pay their rent. Tom and Harry are also excellent 
characters; Tom beginning his speeches quietly, "speaking to 
yon like a father/' and ending in strong language (Mr. Buckstone 
played this part) ; Harry beginning in a rage and ending quietly. 
Yery easy to get up, and altogether a capital play for amateurs, 
and although it is not a " dress" play, neither are the actors in 
their own costumes. This helps a play to (l go," 



THE GEEAT EASTEKN f 
OK, A GEEAT MOOR AXD A LITTLE GAME. 
An Extravaganza in one Act, by P. C. Bttrnand. 

Time in representation, one hour and fifteen minutes. 

Scene I. — View of a Door, c, in the Alhambra Palace, on the roadside, near 

an Eastern city. Tropical trees, etc. The Muleteer music " Rose of 

Castille." Crack ofivhip heard. 
Scene II. — The Interior of a Moorish Seraglio. Centre opening xoith long 

curtains, drawn opart. Balcony at back, overlooking a distant city, 

waters, etc. 

Scene in. — A Lonely Pass in the Mountains, somewhere in Spain. 
Scene IV. — In Boabdil's Palace, with c. opening, Suitable Eastern 
furniture, etc. 

CHARACTERS. 

Bon Ferdinand {the Fearless). Nina {bretrothed to Don Ferdinand). 

Don Tito [the Timorous). Isabella {betrothed to Don Tito. 

BoABDiL(27ie Great Eastern). Katlnka {betrothtd to Alkali, /<z2, 

Alkali {his Physician, aged). fair and forty). 

Zorah {the Blighted Light of the First Lady. 

Harem, to be represented by a Second Lady. 

Tragedienne). 

Costumes — Spanish and Moorish. 

An extravaganza which can be made very laughable if well 
done, and which affords opportunity for gorgeous dressing of the 
Oriental order, and for a great many puns, good and bad. The 
plot is not of much consequence in pieces of this kind, as it only- 
serves as a thread upon which to string scenic effect. Two love- 
lorn ladies are carried off by Boabdil, the "Great Eastern/' and 
detained in his harem. There respective knights, Ferdinand and 
Tito, fly to their rescue, and finally succeed in carrying them off 
in triumph, though they have to poison the potentate to do it. 
Zorah, the blighted light of the harem, is a good part. There are 
quite a number of songs and duets. The direction for Scene II. 
needn't frighten anyone. Curtains and cushions will do it ; and 
as many ladies as can be pressed into the service, will, grouped 
about, complete the picture. As for dresses, " Beauty when 
unadorned/' etc. 



ANALYSIS OF PLAYS. 



&7 



A GRAY MARE * 
A Comedietta in One Act, by B. Webster, Jr. 

Time in representation, one hour. 

Scene. — A well-furnished room,, At back, French window, opening into 
garden. 

CHARACTERS. 

Mr. Joseph Marshall. Florence (niece to Marshall,). 

Robert Smith (a surveyor). Alice (niece to Marshall). 

COSTUMES. 

Mr. Joseph Marshall. — Blue coat, brass buttons, tight plaid trousers, 
high stock, iron-gray wig. 
Robert Smith. — Light tweed coat and trousers, light waistcoat. 
Florence. — White muslin. 
Alice. — Spotted muslin, pink sash. 

Quite a nice little parlor play. Mr. Joseph Marshall is a man 
with a hobby, and Mr. Robert Smith a serious young man, 
whose mind is entirely taken up by the business of surveying for 
a new line of railway. Florence, one of Mr. Marshall's nieces, 
is about to be married, and Alice, the other one, has an inclina- 
tion for the young surveyor, who does not even know that there 
is an attractive girl in the house. She takes matters into her 
own hands, arouses his interest, and actually makes love to him, 
and proposes, though all the time he imagines that he is doing 
the whole business himself. These are very good parts, and a 
first rate chance for a low comedian. 



THE HAPPY DISPATCH. 

A Japanese Opera Bottffe, in One Act, by Alfred 
Thompson. Music by Ducenozoo. 

Time in representation, forty-five minutes. . 

Scene. — Interior of a Japanese shop looking on to public road. (IV. B. — 
With the help of a sereen or two, some Oriental vases, and a few paper 
lanterns, much interesting local color may be given to the scene.) On l. of 
screen a counter, on which are pickle-jars, labeled " Birds' Nests," 
" Sharks' Fins," "Sea Anemones," etc, etc. b,., a barrel or drum 
labeled " Phigs," also a flour-tub. 

CHARACTERS. 

Kongoutwaneakami (otherwise Jeremiah Twankay, late of Little Pickle- 
ooro'). 

Gamaliel Gamboge (artist). 

Awphizpheed (native servant to Kongouiwankakami) . 
Fkanglpanni (otherwise Jemima, daughter of Kongouiwankakami). 
Slybootzee (Fkangepakni's maid). 

Costumes, more or less Japanese. 



u8 



ANALYSIS OF PLATS. 



This piece must be extravagantly dressed and acted, and the 
performers must be able to sing fairly well. Kongoutwankakami 
(otherwise Jeremiah Twankay, late of Little Piekleboro') has 
attained the dignity of purveyor to the Tycoon. He is accom- 
panied by his daughter, Prangipanni (otherwise Jemima), and 
she is pursued by her lover, Gamaliel Garabodge, an artist. 
There is no plot in particular, the tout ensemble being made up 
of ridiculous scenes between the characters and interspersed with 
music » It will, however, amuse an audience extremely well. 



THE HAPPY MAN. 

Ajt Extravaganza in One Act, by Samuel Lover. 

Time in representation, .fifty minutes. Period, about 1820. 

Scene I. and III. — Audience Hall of the Rajah. 

Scene II. — Scene in India — Ruins of Temple, and Fountains* 

CHARACTERS. 

Bam Busti [the Rajah). Bun-phaster {a Courier)* 

Eoxi-fum (his Minister of State). Two Bearers. 

Ski-he ( an Astrologer). Ko-xet (Me Rajah' & Daughter)* 

Paddy Murphy [an Irishman). Sing-smahl {the Ranee). 

Action of piece extends over three days. 

COSTUMES. 

Indian robes. Murphy as an English Soldier. 

The happy man is Paddy Murphy. The Eajah is told that he 
will have no relief from his fit of melancholy till he can obtain 
the shirt of a happy mam A good many misfortunes happen to 
Pat; still he is happy; but when the guards seize his shirt, 
which he refuses to give up, it turns out to be only a frill. This 
piece entirely depends on the exertions of Pat. "With a good 
Pat it is very amusing. Ko-ket has a pretty little part and a 
charming costume. The dresses of the Indian court are very 
effective. The first scene may be made a gorgeous spectacle, 
the procession headed by the boys with peacock-fans, etc.; and 
any detail of Eastern magnificence can be introduced with good 
effect. Pat has two goof songs, which he accompanies upon the 
drum. The scenery of the second scene is rather difficult, and a 
palanquin is introduced. 



ANALYSIS OF PLAYS.] 



69 



A HAPPY PAIR* 
A Comedietta in One Act, by S. Theyre Smith. 

Time in representation, forty -minutes. Period, the present. Scene, a break- 
fast-room. 

CHARACTERS. 

Mr. Honeyton. Mrs. Honeyton. 

Costumes, Modern. 

Mrs. Honeyton is discovered at breakfast, arranging a bouquet 
of roses. Mr. Honeyton conies down in a very bad temper and 
tosses her roses into the slop basin. They are a newly-married 
couple, and he is beginning to get tired of it ; but she brings him 
to a better state of mind by adopting his own line of conduct. 
In one part she mimics his words and attitude — a very good bit. 
This is a capital little piece for a light comedian and a lady come- 
dian. Of course it requires good acting, but it is one of those 
slight sketches that can be given quite as well by amateurs as by 
professionals. Hardly any properties and no stage management 
required. 



THE HAEYEST STOBM.* 
A Domestic Drama in One Act. 

Time in representation, forty minutes. 

Scene.— Country View, with distant corn-fields, farm house l., barn s. e. r. 

CHARACTERS. 
John Garner (an honest English Farmer). 

Dick Darrell (a Young Farmer, dissipated and unscrupulous). 
Mr. Lynx (a Detective, and an honor to his profession). 
Barker and Nibler, (Ids Assistants, sharp and decisive in action). 
Samuel Lexicon (writing a new Dictionary cfthe English language). 
Andrew Radford (Clerk to a London banking house — absconding, not from 
guilt, lut from iuspicion). 

Michael (Br o her to Andrew, and in the service of John Garner). 
Charley Cooper, ) [two Gypsies, with slight perception of the difference be- 
ISat Lovel, ) iwten " meum " and " tuum." 

Costumes, Modern. 

A domestic drama in one Act, and a very good piece for nine 
male amateurs. Andrew Radford, clerk in a London Bank, in- 
nocent, suspected of a robbery, absconds, and seeks shelter with 
his brother Michael, in the service of an honest and prosperous 
farmer named John Garner. Michael strives to conceal Andrew, 
and to borrow money from the farmer, wherewith he may fly the 



70 



ANALYSIS OF PLAYS. 



country. Two gypsies came along at this juncture, and rob 
Garner's cash box. The officers of justice, in pursuit of Andrew, 
find out his hiding place, and also arrest Michael for robbing his 
Master. When matters are thus at their very worst for the 
poor young fellows, the real thieves of the bank turn up, and the 
gypsies are found with the farmer's missing property in their 
possession. The fun of this piece is made by Samuel Lexion, 
who is writing a new and unique dictionary. 



A HASTY CONCLUSION* 

A BURLETTA IN ONE ACT BY ELIZA PLANCHE. 

Time in representation, forty minutes. 

Scene. — The interior of Carl's cottage ; a forge is seen u. E. R. ; door l. e. and 
window r. e. at back, opening on to the country ; doors r. and l. s. e. 

CHARACTERS. 

The Abbe le Bon (Almoner to a French Carl, {a German blacksmith). 

regiment). Blacksmith's Man. 

Martelle (an old Grenadier of the Soldier. 

French guard). Marie ( Martelle 's daughter) 

COSTUMES. 

The Abbe le Bon. — First dress, Suit of black ; shoes and buckles ; black 
neckbands with white edges ; a small black cloak, falling from under the 
collar of the coat ; the cross of the Legion of Honor on his left breast ; a 
black calotte, i.e., small skull-cap ; three-cornered cocked hat. Seeond dress: 
Trench uniform. 

Martelle. — First, in undress ; and afterwards, in full uniform. 

Carl. — Full breeches of brown cloth, blue stockings, shoes with large sil- 
ver buckles ; a coarse shirt, with German braces over it ; handkerchief 
loosely knotted round neck, sleeves turned up, and a leathern apron on at 
first ; when he goes out, a coat slung over his shoulder, and a flat-crowned 
black hat, with a colored ribbon round it, 

Blacksmith's Man. — Similar dress to Carl. 

Soldier. — Uniform same as Martelle. 

Marie. — Costume of a peasant of Macon, in Burgundy, 

A Burletta. Mar tell a, an old grenadier of the French Guard, 
■who was once robbed by a priest named Le Bon, has come to the 
hasty conclusion that all priests are vipers. He has a pretty 
daughter, Marie, who loves and is beloved by Carl, a German 
blacksmith. The Abbe Le Bon, brother to the man who plun- 
dered Martelle, and almoner in a French regiment, is billeted in 
the same house. He determines to conquer the old soldiers 7 pre- 
judice against the clergy, and the manner in which he does it is 
happily described in the play. He also secures Martelle' s bless- 
ing for Carl and Marie*. There are two pretty songs for Marie 
and duos for Martelle and Carl— Carl and Marie. If it is found 
difficult to introduce a blacksmith's forge it may be omitted, as a 



ANALYSIS OF PLATS. 



71 



plain room in Carl's house will answer every purpose. The music 
may also' be left out if the actor is not musical. 



THE HEIK-AT-LAW. 

A Comedy in Five Acts, by George Coleman the Younger. 



Time in representation, about two hours. Period, 1790. 



Act I. — Scene I. — An apartment in Lord Duberly's House. Scene II. — 
A Room in the " Blue Boar" Inn. 

Act II. — Scene I. — Lodgings of Miss Dormer. Scene II. — A Room in the 
" Blue Boar" Inn. 

Act III. — Scene I. — A Room in an Hotel. Scene II. — An Apartment in Lord . 
Duberxy's House. Scene HI. — Another Room in the same House. Scene IV. — 
Ditto. 

Act IV.— Scene I. — Lodgings o/Miss Dormer. Scene II. — A Street. 
Act V. — Scene I. — A Street. [This Scene is often omitted.) Scene II. — Apart- 
ment in Lord Duberly's House. Scene HI. — Miss Dormer's Lodgings. 

CHARACTERS. 

Dantel Dowlas (alias Baron Duber- Kenrick. 

ly). John (a Servant). 

Dick Dowlas (his Son). Two Waiters. 

Doctor Pangloss. Deborah Dowlas (alias Lady Duber- 

Henry Morland. ly). 

Stedfast. Caroline Dormer. 

Zekiel Homespun. Cicely Homespun (a Sister to Zekiel.) 



COSTUMES. 

Dantel Dowlas. — Green coat, richly embroidered; flowered waistcoat, 
silver buttonholes ; salmon-colored breeches; white silk stockings ; shoes ; 
paste buckles ; lace ruffles; cornered hat, etc. 

Dick Dowlas.— Green coat ; white waistcoat ; light breeches ; white silk 
stockings : dress shoes. 

Henry Morland. — Black frock coat ; white waistcoat ; black pantaloons ; 
black silk stockings, pumps and hat. 

Stedfast. — Dark plain suit ; boots, hat and cane. 

Doctor Pangloss. —Black velvet coat, with glass buttons; black cloth 
breeches ; silk stockings ; shoes and buckles ; small cane ; ruffles ; three 
cornered hat. 

Zekiel Homespun. — Black coat ; buff waistcoat ; buckskin breeches ; 
striped stockings, laced boots. 

Keneick. — Grey (old man's) coat ; plain waistcoat; green baize breeches ; 
brown stockings; shoes; old man's round hat. 

Waiters. — Plain blue coat ; yellow waistcoat and breeches ; white stock- 
ings and shoes. 

Lady Duberly. — White satin petticoat ; lace apron ; loose pink satin gown; 
ornamented, short sleeves ; old-fashioned head-dress ; high-heeled shoes. 

Caroline Dormer. — Dark satin body, and leno petticoat, trimmed with 
black lace. 

Cicely Homespun.— Slate-colored dress, neatly trimmed with black ; straw 
or chip hat, with black ribbon ; striped stockings, and black shoes ; small 
black handkerchief round her neck. 



72 



ANALYSIS OF PLAYS. 



This play may be performed in three acts, and most extensively 
cut. There are about six scenes required. It is a troublesome 
piece to put on the stage, and part of the plot is rather objec- 
tionable ; but it has always been a popular play, and Dr. Pang- 
loss is one of the best-known characters in dramatic literature. 
Lord Duberly, the ex- grocer (suddenly become a lord) and Lady 
Duberly are excellent. Each gives the Doctor £300 a year to 
educate Dick Dowlas, their son and heir. Dick gives him the 
same sum to leave him alone. The parts of Stedfast and Mor- 
land can be cut greatly. Zekiel Homespun is a country bump- 
kin from Somersetshire ; Kenrick, an Irish servant. The chief 
objections to this play are its length and the constant changes of 
the scene. 



HELPING HANDS. 

A Drama in Two Acts, by Tom Taylor. 

Time in representation, two hours and five minutes. Period, the present. 

Scene I. — An Attic-room in a London Lodging-house. Scene II. — Library at 
Lord Quaverly's House. 

CHARACTERS. 

Lord Quaverly {Musical Enthusiast), William Rtjftjs, alias Shockey (Shoe* 

The Hon. Calverly Hautbois. black). 

Lorentz Hartmann. Margaret Hartmann. 

John Merton i Doctor). Mrs. Booty {Landlady). 

Isaac Wolff, ) [Jews. Valuers and 'Ttudk {Maid-qf -all-work). 

Lazarus Solomon, ] Appraisers). 

COSTUMES. 

Lord Quaverly. — Black frock coat and trousers, check waistcoat. 
Hautbois. — Fashionable under suit. 

Hartmann. — Black old-fashioned coat, tight silk waistcoat, pantaloons, 
Hessian boots. 

Merton. — Black frock coat, -gray trousers. Holland waistcoat. 
Rufus. — Red shirt, black apron, white trousers. 
"Wolff. — Eccentric Jew's dress. 

Solomon. — Brown great coat, dark-waistcoat and trousers. 
Margaret. — Brown alpaca dress trimmed with black, straw bonnet, and 
black silk cape. 

'Tilda.— Blue cotton dress, short-sleeves and apron. 
Mrs. Booty.— Pink delains, with flannels, showy cap. 

Lorentz Hartmann is a violinist, once of the Opera, but now 
old, poor, and blind, with no possessions but his Stradivarius and 
his daughter, Gretchen. Eis"affections are divided between them, 
but love for his daughter triumphs in the end ; and he is willing 
to part with his " alter Strad " to get money to take her to a warm 
climate. The struggle is really pathetic. This part requires an 
actor of considerable force, and he should not only be able to talk 
German, but to talk English with a German accent— things which 



ANALYSIS OF PLAYS. 



73 



do not always go together. As his hands are crippled with rheu- 
matism he does not play the violin— fortunately, as it would 
greatly add to the difficulty of casting this part if he did, and as 
it stands it would not be easy to find an effective amateur Hart- 
mann. Margaret is an angel in the attic— a gentle, interesting 
character, that only requires to be played in a sympathetic man- 
ner. Mrs. Booty is the usual grasping lodging-house woman, 
who sells up her lodgers and employs Wolff and Solomon — two 
repulsive but necessary individuals. 'Tilda is a most amusing 
character; though "workus" bred, she is kindhearted and 
staunch, and has her own (rather peculiar) ideas of honesty. The 
"helping hands " belong to her, to Merton (a doctor, in love with 
Margaret), and to William Kufus, who has been a "workus/' a 
thief, and a variety of other things, but is now a converted shoe- 
black. This is a good part for a low comedian. Lord Quaverly 
is fanatico per la musica; the Stradivarius falls into his hands, 
bat he makes a present of it to the Doctor for curing his only 
child; and so the fiddle comes back to its original owner. His 
lordship's brother, Hautbois, has a rather unpleasant role, — a 
young man of fashion, attracted to the Hartmann's garret by the 
beauty of Margaret, and getting well snubbed for his pains. 
However, he ends well, and so does the play. There is no diffi- 
culties of scenery, and few properties ; among them a fiddle, a 
bust of Bach, and a portrait of Beethoven, or some one that will 
pass for him. 



HE'S A LUNATIC.* 
A Farce in One Act, by Felix Dale. 

Time in representation, forty minutes. Period, the present. 
Scene, a Drawing-room. 
CHARACTERS. 

March Hare [a young Artist). Arabella Hanwood. 

Sin Guy Trotter, K. C. B. Hatter {her Maid). 

Ruggles {a Housebreaker). 

Costumes, Modern. 

Mrs. Hanwood, a rich young widow, is dying for a sensation. 
March Hare supplies her with one, by getting into her house and 
pretending to be a lunatic. Although "extremely frightened she 
takes a fancy to the artist, who is young and handsome and very 
fascinating in his lucid intervals. He protects her from Ruggles, 
a very peaceable housebreaker, and delivers her from what she 
dreads even more — a prolonged visit from her suitor, Sir Guy 
Trotter, a dreadful old bore. Finally, March Hare confesses his 
madness was all assumed, and gains the hand of the fair widow. 



74 



ANALYSIS OF PLAYS. 



Some of his pranks are amusing, and may be made a good deal 
of. None of the characters are stupid,- and the farce altogether 
is lively, unobjectionable and easy to get up. 



HIS FIRST BRIEF. 
A Comedietta in One Act, by Sidney Daryl. ' 

Time in representation, thirty minutes. 
Scene, Mbs. Fabbingdon Ward's lodgings at Highbury. * 
CHARACTERS. 

Chables de Mubbeb (a young Barris- Jebemy Pounce (a Barrister's Clerk). 

ter). Mbs. Fabbingdon Wabd (a young and 

Mb. Congou Popham (a retired Tea- wealthy Widow). 

merchant). Martin (her confidential Maid.) 

Costumes, Modern. 

^An amusing comedietta, very suitable for a drawing-room. 
Mrs. Farringdon Ward is a young widow whose time hangs 
heavily. Because she has nothing else to do she engages herself 
to Mr. Congou Popham, a retired tea-merchant, who has been 
trying to break her late husband's will. Jeremy Pounce is a 
melo-dramatic barrister's clerk, who has fallen in love with Mar- 
tin, Mrs. "Ward's maid. He takes the time-honored method of 
sending her a love letter through a window, tied to a stone. The 
widow, rinding it first, appropriates it and prospects the neighbor- 
hood for the sender. She finally lights upon De Murrer, a brief- 
less but good-looking young barrister, and not knowing how else 
to make his acquaintance, sends for him to obtain his legal 
opinion as to her lawsuit. Jeremy, who is always quoting 
Shakespeare, comes back to court Martin, and there is much 
fanny business about the letter, he supposing that the widow has 
taken a fancy to him. Old Popham is also funny. De Murrer 
exposes the fact that he has actually no case against Mrs. Ward, 
so she sends him about his business and bestows upon the young 
lawyer her hand and "His First Brief. " This piece is more 
than usually good. 



THE HONEYMOON. 
A Comedy in Five Acts, by John Tobin. 

Time in representation, two hours and fifteen minutes ; when played in Three 
Acts, one hour and forty minutes. 

Act I. — Scene I. A Street in Madrid. Scene II. A Room in Balthazar's 
House. 



ANALYSIS OF PLATS, 



75 



Act II. — Scene L A Cottage. Scene II. A Boom in Balthazar's House. 
Scene III. The Picture Boom. Scene IV. The Cottage. 

Act III. — Scene I. An Inn. Scene II. Apartment in the Duke's Palace. 
Scene III. An Inn sometimes omitted). Scene IV. The Cottage. 

Act IV, — Scene I. The Inn (sometimes omitted). Scene II. A Wood. 
Scene III. A Bural Scene. 

Act V. — Scene I. The Cottage. Scene II. A Wood. - Scene III. Apart 
ment in the Duke's Palace. 



Action of the piece extends over one month. 



CHABACTEKS. 



The Duke of Aeanza. 
Count Montalban. 
Captain Bolando. 
Signob Balthazar 
Campello, 



Jaquez, 



'ervants to the Duke. 



Lopez (a Bustic). 
Lampedo (an Apothecary). \ 
Juliana, ) ^ 
Volante, [ Daughters of Balthazar. 
Zamoea, ) 
Hostess. 



Costumes, Spanish, 16th Century,, 



"When this comedy is played in three acts (a course to be com- 
mended) the parts of Lampedo and the Hostess are omitted. 
This includes Scenes III. of Act III., and Scene I. of Act IT. 
"The Honeymoon" is one of the very best plays that ever was 
written. It is witty without being coarse ; both plot and dia- 
logue must please the most fastidious ; the sole objection anyone 
could find is that one of the ladies— Zamora — must wear a page's 
dress. The scenery is not so difficult as it appears at the first 
glance, but eight different scenes are required ; and though 
there is nothing at all complicated in any one of them, still that 
necessitates a good deal of scene-shifting. "The Honeymoon" 
is rather an undertaking, but one that will amply repay the 
impressario. There is nothing very formidable in any of the per- 
formers, and the play is so exquisitely written throughout that 
even the minor characters have words well worth studying. The 
plot is something like " The Taming of the Shrew.' 7 The Duke 
marries Juliana, a proud young woman ; then he, very untruth- 
fully affirming that he is only a peasant, makes her live in a 
cottage and wait on him and his rustic friends. She gives him 
her mind with a good deal of vigor several times, shakes up his 
"jug of wine, and tosses the chairs at his friends, instead of hand- 
i ig them. She escapes from the cottage, and greatly alarms 
.Jaquez, the Duke pro tcm. (an excellent low comedian's part), 
who does not dare to interfere, as the real Duke has followed 
her, and insists on her return to the cottage for one month. By 
the end of that time she is all meekness, and he declares his real 
rank. Tolante, gay and mischievous, and Zamora, tender and 
impassioned, form an excellent contrast. Captain Kolando, a 
soldier who has forsworn love, falls a victim to Zamora ; and 
there are capital scenes between Volante and her lover, Count 
Montalban. 



76 



ANALYSIS OF PLAYS. 



HOW TO SETTLE ACCOUNTS 
"WITH YOTTK LAUNDKESS.* 
A Farce in One Act, by J. Stirling Coyne. 

Time in representation, fifty minutes. Scene.— J. tailor's show-room, hand- 
somely fitted up. . 

CHARACTERS. 



Whittington Widgetts (a West End 
Tailor) . 

Barney Twill (Widgetts' Page and 

Light Porter) . 
Jacob Brown (A Hairdresser at the 

Opera), 



Postman. 
Waiter. 

M'lle. Cheri Bounce (An Opera 

Dancer). 

Mary White (A young Laundress), 



COSTUMES. 

Whittington Weogetts. — Blue coat, white vest, grey plaid trousers. 
Second Dress — Green coat, pink vest. Third Dress — Black coat. 
Barney Twill. — Green page's suit. 

Jacob Brown. — Puce frock coat, blue vest, nankeen trousers. 
M'lle. Bounce. — .Fashionable silk dress, blue satin visile, trimmed with 
lace, pink bonnet. 

Mary White. — Pink print dress, green shawl, and straw bonnet. Second 
Dress — Blue blouse, drab leggings, red cravat, and fancy cap. Third Dress — 
Drab paletot, white vest, and trousers. 



A popular farce, and a very good one. WTiittington Widgetts, 
a West End tailor who has risen in the world, has allowed his 
affections to wander from their rightful object to M'lle. Cheri 
Bounce, a fascinating ballet-dancer. The rightful object, other- 
wise Miss Mary White, laundress, naturally objects to this 
arrangement, and detecting Widgetts in his little design of enter- 
taining Mademoiselle with a supper, circumvents, and brings 
him to humiliation in a truly comical and side-splitting manner. 
Her device of dressing a lay figure in her clothes and drowning it, 
heels up, in the water-butt, produces great amusement. When 
Whittington has been sufficiently punished, she relieves his mind 
by appearing before him in propria persona, when he returns to 
his allegiance, and settles accounts with his laundress without 
further trouble. 



ANALYSIS OF PLAYS. 



77 



THE HUNCHBACK* 
A Comedy in Five Acts, by J. Sheridan Knowles. 

Time in representation, about two hours. Period, 1680 . 
Act I. — Scene I. — A Tavern, Scene II. — A garden before a country house. 
Act II, — Scene I. — Garden with two arbors. £>cene IL — A street. 
Act III. — Scene L — A drawing-room. Scene IL — Room in Master Heart- 
"well's house. 

Act IV.— Scene I. — Room in the Eael of Rochdale's. Scene IL — Banquet- j 
ing-room. 1 
Act V. — Scene I. — Corridor, Scene II. — Banqueting-hall, decorated. * 

CHARACTERS. 

Master Walter {the" Hunchback). Fathom {Master Walter's Servant). 
Sir Thomas Clifford. Thomas (Master Heartwf.lt/ s Ser- 

Master Wilford (Lord Rochdale). vant). 

Lord Tinsel {his Friend). Stephen (Sir Thomas Clifford's JSer- 

Modus. vant). 

Master Heartwell (Helen's Father) , Waiter and Servants. 

Gaylove and one or two Friends. Julia. 

Helen. 

Action of the piece extends over a couple of months. 

COSTUMES. 

Court dress of the time of Charles II. 

There appear to be a great many characters in this play, but 
several of them have scarcely anything to do ; thus, Gaylove 
and his friends only appear in the first scene ; Heartwell only 
says a few sentences in Act II. , Scene I. ; the servants (except 
Fathom, who has a good part) speak a few words ; and Lord Tin- 
sel, though a good character as far as he goes, only comes on in 
two scenes ; so that some of these parts may easily be doubled. 
The scenes between Modus and his cousin Helen are most comic 
— he is a shy student, deep in Ovid's " Art of Love, " but Helen 
proves the better teacher. These scenes are sometimes given by 
themselves, as an afterpiece. The Hunchback is, ot course, the 
leading character in the play, and it requires a good actor to give 
his quick, irritable temper, his tender love for his daughter, and 
his sensitiveness on the subject of his deformity. He has brought 
up Julia as his ward, and brought her up in the strictest seclu- 
sion in the country. When she comes up to town as the affianced 
wife of Clifford (whom the Hunchback takes a fancy to because 
of his spirited behavior in a tavern brawl, with which the play 
commences) the whirl of gayety turns her head for a time, she 
treats her lover badly, he in turn rejects her, and in a fit of des- 
pair she accepts Lord Rochdale. From the moment she does so she 
repents, and Clifford coming as Lord Rochdale's secretary has 
ample opportunity of finding out the real state of her heart. At 
the last moment the Hunchback comes to the rescue, declares 
himself to be her father and the true Lord Rochdale, and sends 



78 



ANALYSIS OF PLAYS. 



Master Wilford away without wife or title. Though by no means 
an interesting character, one cannot help feeling he is rather badly 
treated among them. Julia and Clifford require very good act- 
ing. This is not a difficult play to get up for a five-act comedy; 
there are not many scenes, and no properties, except some let- 
ters, deeds, and a book ; but Master "Walter Clifford, Modus, 
Julia and Helen, must all be good. 



HUBBAH FOBPABIS!* 
A Comedietta in One Act. 

Time in representation, thirty minutes. Scene, a drawing-room, 
CHAEACTEES. 

M. Sarigny. Henrietta (M. Sarigny's Wife), 

Bruno {his Valet). 

Costumes, Modern. 

This piece calls for only three characters, one of which, Bruno, 
is a very good low comedy part. A valet, taken away from his 
beloved Paris, endeavors by playing upon the peculiarities of his 
master and mistress, to bring them into a proper frame of mind 
for returning thither. His trials are amusing. 



A HUSBAND TO OBDEB * 

A Serio-comic Drama in Two Acts, by John Maddison 
Morton. 

Time in representation, one hour and twenty-six minutes. Period, 1806, 

Scene I. — Drawing-room in Elise's house. 

Scene II. — Dravnng-room at the Chateau de Beaupre. 

CHARACTERS. 

Baron de Beaupre Servant. 
Pierre Marceau. Josephine {the Baron's Niece), 

Anatole IiATOUR {a Lawyer). Elise {the Baron's Ward.) 

Phillipeau (a Farmer) . Madame Phikltpeau. 

Action of the piece extends over two years. 

COSTUMES. 

Time of Napoleon I. 

Pierre Marceau, a man of the people, has become a Colonel in 
Kapoleon's army, and has purchased the estates of Beaupre, for- 
feited to the nation. The Baron (a capital " old man's" part) is 
therefore anxious for a marriage between Pierre and his niece, 
Josephine. The young lady is aristocratic j she consents under 



ANALYSIS OF PLATS. 



79 



pressure ; but on meeting Pierre's relations, the Phillipeaus, on her 
wedding-day, she is so horrified by their hearty country ways that 
she is rude to them, and snubs her bridegroom, who takes him- 
self off to the wars again in a huff, having previously placed the 
estates of Beaupre at Josephine's disposal. In the second act, 
two years later, he thinks better of it, and comes back under the 
name of an imaginary brother, Henry Marceau, Pierre being sup- 
posed to have been killed in battle. He finds his widow mourn- 
ing his loss very sincerely, her haughty temper is subdued, and 
she and Madame Phillipeau are the best of friends. She breaks 
down while reading a last letter from Pierre, and a reconciliation 
follows. Phillipeau and his wife have capital comic roles. Ana- 
tole is a shy young lawyer, who, to please Elise, turns soldier, or 
pretends to do so, and appears in the second act in uniform, with 
a patch over his eye and his arm in a sling, and manners sup- 
posed to be military. Elise is a laughing hoyden, a good deal 
toned down after the two years' interval. There are no stage 
difficulties about this play, very few properties, the parts are all 
good (it is quite an " all-round " play), and the dresses are pretty. 
All the characters are comic except Josephine and Pierre. It is 
essential that he should look like a soldier, and it must be borne 
in mind that Josephine certainly falls in love with him at first 
sight. 



ICI ON PAELE FBANCAIS * 
A Farce in One Act, by T. J. Williams. 

Time in representation, about three-quarters of an hour. Period, the present. 
Scene. — a Lodging-house Parlor, 

CHARACTERS. 

Majob Regulus Rattan. Mrs. Speiggins. 

Victor Dubois. Angelina {their Daughter). 

Me. Speiggins. Julia {wife o/ Majob Rattan 

Anna Maria {Ma'd-of-all-ivork). 

Costumes, Modern. 

Sprigging determines to make money by turning his house into 
lodgings to the indignation of his wife, daughter and Anna 
Maria. To make them more attractive he hangs up the notice, 
" Id on parte Francais," and studies "French before Break- 
fast/' When a young Frenchman does apply for them the result 
may be imagined. This is a very good farce, amusing and un- 
objectionable, not so troublesome about properties as most farces, 
the chief objection to it being that it is rather well known. Sprig- 



80 



ANALYSIS OF PLAYS. 



gins is a good low comedian's part, Rattan is a noisy fire-eater, 
and Yictor must have a good French accent, both for his French 
and English. Mrs. Spriggins, a descendant of the De Penton- 
villes, is a good character. 



IF I HAD A THOUSAND A YEARI* 
A Farce in One Act, by J. Maddison Morton. 

Time in representation, one hour and fifteen minutes. Period the present. 
Scene. — A breakfast-room. 
CHARACTERS. 

Mb. Paddington Green. Mbs. Paddinoton Green. 

Mb. Pebcy Chaffington. Julia [her Sister). 

Mb. Paul Chesterton. Maid-Servant. 

Clerk to Chaffington. 

Costumes, Modern. 

A capital farce, one of the best. Paddington Green is an ex- 
cellent light comedian's part, one of Charles Matthews'; the 
success of the piece depends on him. Bnt the other parts are 
fairly good, except the clerk and maid, who have line parts. 
Paddington Green is a clerk at Somerset House ; he is always 
wishing fcr 1000£. a year, and is persuaded by Chaffington to 
speculate in Buffaloes and Hongkongs. Chaffington is an M.P. 
plotting for office ; Paul Chesterton is a lover, Julia being the 
object. A small child (Green's little boy) is introduced, but may 
be omitted and merely alluded to. This farce is amusing and 
unobjectionable; it is remarkably easy to manage. 



I'LL TELL YOUR WIFE* 
A Farce m One Act, by W. S. Webster. 

Time in representation, thirty-five minutes. 

Scene. — Interior of an Hotel. Door sit. and l. s. e. Doors r. and l. t. E. 
marked 8 and 9. Door c. backed by landing-place and stairs. 

CHARACTERS. 

Paul. Mr. Softly. Fair Lady. 

Dr. Bile. Joseph {a Waiter) . Dark Lady. 

COSTUMES. 



Paul. — Light drab coat, light vest, black trousers, drab hat. 



ANALYSIS OF PLATS. 



81 



Dr. BrLE. — Black body-coat, green vest, light gray trousers, black hat. 
Joseph. — Black coat, white vest, black trousers. 
Fair Lady. — Silk dress, bonnet and shawl. 
Dark Lady. — Silk dress, bonnet and shawl. 

A farce. Funny, but not refined. Paul is engaged to the 
daughter of Dr. Bile ; but, notwithstanding it, is carrying on a 
flirtation with a milliner. Dr. Bile, who is a married man, is 
also flirting with a young woman who dyes for a living. Both 
bring their flirtees to the same hotel, at the same hour, to dine, 
f Of course, they run against each other, and a comical scene 
ensues, during which each man tries to get rid of the other- 
thinks he has, and then finds he hasn't. They finally discover 
each other's secret, and then there is an explosion, each threaten- 
ing to tell. Finally, the ladies make their appearance from 
their respective rooms, and ton out to be Miss Bile and Paul's 
fiancee, Fanny, who have laid a trap and brought down their 
game. In this emergency, Paul, with the most barefaced effron- 
tery, declares that the trap was of his own contriving, and gotten 
up for the purpose of curing the ladies of jealousy, and they, 
foolish things, believe him. 



INFATUATION. 
A Drama in Four Acts, by Sir Charles Young. 

Time in representation, about an Jwur and a half. Period, the present, 

Scene I. — Dining Boom in the Chateau de Lignerolles. 
Scene II. — The Park Wall at back, with Gates, Chapel, etc. 
Scenes III. and IV. — Salon in the Chateau de Ligneroles. 

Action of the play extends over one year, 
CHARACTERS 



Henri de Ligneroles. 
Lagrange {his Father-in-law), 
Prince de Mire. 

Coitte de Givry (Nephew of the 

Prince). 
Chasseur. 

JUGE DE PAIX. 



Charles {a Servant). 
Etlenne (a Servant). 
Louise de Lignerolles {Wife of 

Henri) . 
Cecile (Comtesse de Givry\ 
Marle [a Child of about six), 
Josephine (Marie's Bonne). 



Costumes, Modern. 

. The plot of this play verges on delicate ground. The infatua- 
tion is that of Henri de Lignerolles for Cecile, the wife of the 
Comte de Givry. Louise discovers their secret, and it is her 
noble conduct in screening her husband, and trying to win him 
back, that gives its strong interest to this piece. Their little 
child, Marie, in her efforts to learn to read writing, unconsciously 



82 



ANALYSIS OF PLAYS. 



betrays her father by spelling out a note of his to Cecile, ap- 
pointing a meeting. They meet at the end of the park, near the 
chapel (Scene II.) ; Louise joins them, appeals to her husband's 
better. feelings, and prevails. This is a very powerful scene. 
For nearly a year they see no more of each other, when evil 
chance once more throws Henri beneath the spell. Cecile is a 
queen of song, and he is as infatuated as ever. The Comte de 
Givry becomes jealous, and Cecile flies to Henri, whose wife is 
on a visit to her father. Louise, however, returns unexpectedly, 
and the Comte de Givry follows his wife. The imbroglio can 
only end in one way — the men fight, and Henri is shot. This 
play is far too tragic to be attempted by any but actors of proved 
skill. The part of Louise has been made celebrated by Mrs. 
Monckton. Cecile plays an unpleasant but important role. 
Henri de Ligneroles and the Comte de Givry are also very telling 
parts ; but the former has a great deal the most to do, the Comte 
only appearing at the end of the third act, and in the fourth. The 
other characters are slight. Charles and Josephine, the usual 
servants, who explain the family in the first act. Etienne may 
be left out. The Juge de Paix and Chasseur have line parts. 
The Prince de Mire is merely an ardent sportsman, with whom 
the Comte and Comtesse de Givry are staying, and he and Cecile 
follow a stag into the de Ligneroile's park, and so gain an intro- 
duction to the family. Lagrange, a returned exile, is stern and 
silent, his chief characteristic being his love for his daughter. 
The scenery is simple (the first, third, and fourth scenes may be 
the same room), and there are no difficulties of management. 



INGOMAE; 
OR, THE NOBLE SAYAGE. 
An Awful "Warning, in One Act, by R. Reed. 

Time in representation, fifty minutes. 

Scene I. — The Market place of Marseilles. Myron's house {right first 
entrance), stalls, booths, etc., as for market day. Villagers just 
dispersing. Sunset. 

Scene II. — Ingomar s camp in the ivilds ; Rocks r. and l.; Waterfall. 

Scene III. — A public square in Massilia. A Fair going on. 

CHARACTERS. 

The Timarch oe Massilia (Commis- 
sioner of Police). 

Polydor (a rich Merchant and a 
Miser). 

Myron [an Armorer in difficulties). 
Actea ( Wife of Myron). 
Parthenia (her Daughter, somewhat 
strong-minded). 



Adrasttts, } 
Idiotes, 

Squint us, | 

Cockeyedes, [Citizens of Massilia 

Dueferus, f (Marseilles). 

Sillias, j 

SOFTUS, 

Lycon, J 



ANALYSIS OF PLAYS. 



83 



ALEMANNI. 

Sammo, 

Ingomar (the Noble Savage). BobtI^s,' 

Blokxdes, 

Costumes, Ad libitum. 

This is a burlesque upon the well-known play, and requires a 
good deal of singing. All depends upon the spirit with which 
the characters carry off their parts. They should make their 
dresses as absurd as possible, and the action should be brisk. 



1 His equally refined 
' Warrior-Chiefs. 



INHUMAN* 
A Comedietta in Three Acts. 

Time in representation, fifty minutes. » 

Scene. — Parlor of the " Royal Unicorn''' Mudford, with appropriate furniture. 
A large engraving of a Royal Princess, and a vulgar oil portrait of a fat 
landlady on walls. 

CHARACTERS. 

Colonel Colepepper (on the Retired ±OTTUES{Landlord of the Royal Unicorn) 
List) . Jemima Jane (31 aid-of-all- Work) . 

Captain Larkspur (of the Light Bra- Gertrude Blushington (Maid of no 
goons). Work). 

COSTUMES. 
To suit the characters. 

An easy and laughable piece. Captain Larkspur, the Irapu- 
pudent Dog, beards the Lion, otherwise Colonel Colepeppeiy in 
his den, plays upon some of his little peculiarities and eventually 
marries his neice. The Captain being very impudent, the Colonel 
very irascible, Gertrude very gushing, and Jemima Jane, the 
maid of all work, very comical, they succeed in entertaining an 
audience very well. 



84 



ANALYSIS OF PLAYS. 



THE IEISH DKAGOON.* 
OR WARDS Itf CHANCERY. 
A Farce in One Act, by Charles Selby. 

Time in representation, fifty minutes. Scene. — A counting-house. 
CHARACTERS. 

Me. Brown Sherry (a Wine Mer~ Switcher (Mellowpear's Clerk). 

chant). Miss Matilda Jinks (a Beautiful Young 

Mr. Mellowpear (an A ttorney). Lady). 

Fizgig (Sherry's Clerk). Mrs. Bloomly (a Young Widow). 

Paddy Murphy O'Brallaghan (a Mrs. Brown Sherry (a Married Lady). 
Light Dragoon) . 

COSTUMES. 

Mr. Brown Sherry. — Eccentric plaid trousers, patent polished boots, 
black satin waistcoat, light drab fashionable paletot, colored cravat, full 
dress grey wig, large black whiskers. 

Mr. Mellowpear. — Grey pantaloons, Hessian boots, black coat and waist- 
coat, eccentric broad brimmed black hat, white cravat, and frill. 

Fizgig. — Rob Roy plaid trousers, small shepherds' plaid shooting jacket, 
changed to a light green dress coat, light flaxen wig, brushed into a brutus, 
small shabby white hat, changed to a large new one for second dress. 

Paddy Murphy O'Brallaghan. — First dress, light grey military trousers, 
with red stripe on sides, torn and patched ; dilapidated red shell jacket, 
checked shirt, light brown wig, whiskers and mustaches, canvas apron, and 
paper cap. Second dress. — Braided military frock. 

Switcher. — Modern suit. 

Miss Matilda Jinks. —Fashionable walking dress, white bonnet. 
Mrs. Bloomly. — Fashionable walking dress, pink bonnet. 
Mrs. Brown Sherry. — First dress, fashionable silk dress, shawl, blue bon- 
net. Second dress, a polka pelisse, bonnet, and thick black veil. 

Mr. Brown Sherry, an elderly but festive wine merchant, takes 
advantage of his wife's absence. Mr. Fizgig, his clerk, who is 
courting the widow Bloomly, takes advantage of his principal's 
absence, and O'Brallaghan, the Irish dragoon, takes advantage 
of Fizgig's absence. Just as Fizgig and O'Brallaghan, with the 
widow Bloomly and Miss Matilda Jinks get ready to enjoy 
themselves at supper, Mr. Brown Sherry returns with a veiled 
lady, whom he supposes to be the charming Arabella, but who is 
really his wife. The luckless employees hastily conceal the sup- 
per anywhere and the ladies in the bookcases. Before they can 
devise means for their release, Mellowpear, an attorney, conies 
and affixes legal seals upon all Sherry's papers and the book- 
cases. Mrs. Sherry finding the ladies' bonnets, becomes enraged 
and discloses herself. This is a very laughable scene. Fizgig, 
at his wit's end, has to confess and- run after Mellowpear to re- 
turn and release the prisoners, and Mrs. Sherry is so delighted 
that they cannot be laid at her husband's door that she forgives 



ANALYSIS OF PLATS. 



85 



the episode of Arabella, and Sherry is so pleased at getting ont 
of the scrape that he bestows his forgiveness and his blessing 
upon the other characters; who join hands. 



AN IEISH ENGAGEMENT.* 
A Farce in One Act, by W. Watts. 

Time in representation, forty-five minutes. Scene. — A Room in the house o/Mb. 
Bullfinch. 

CHARACTERS. 

Me. Bullfinch. Tim Kafferty. 

Mb. McCarthy. Julia Bullfinch. 

Captain Foxlove. Norah. 

COSTUMES. 

Mr. Bullfinch. — Light blue coat, gilt buttons ; white waistcoat, nankeen 
trousers, short gaiters. 

Mr. McCarthy. — Green coat, yellow waistcoat, black trousers, whit© 
hat. 

Captain Foxlove.— First dress, Military undress. Second dress, Light blue 
livery coat, top boots. 

Tim Rafferty. — First dress, Light blue livery coat, top boots. Second 
dress, Dress coat, gilt buttons ; top boots, opera hat. 

Julia. — A white muslin dress. 

Norah. — Stun' gown, looped up ; mob cap. 

Jnlia Bullfinch is in love with Captain Foxlove, bnt promised 
to Mr. McCarthy, the son of an old friend of Mr. Bullfinch, 
"whom she is to marry or forfeit ten thousand pounds. The cap- 
tain conceives the idea of making Tim Rafferty, his man, per- 
sonate McCarthy, who is expected. Rafferty is accordingly 
introduced to old Bullfinch, and disgusts him by his obstreperous 
behavior. All is going smoothly when the real McCarthy ar- 
rives, but Tim intercepts him and tells him that the old gentle- 
man and his daughter are both mad. Julia has a good mad 
scene here, and the suitor is so terrified that he signs a paper 
declining the lady's hand and the forfeit money. This once 
secured, Captain Foxlove comes forward, and they all, with one 
accord, coax old Bullfinch into giving his consent to Julia's 
marriage with the Captain. Tim Rafferty is an excellent Irish 
part. 



86 



i r ANALYSIS OF PLAYS. 



XEKESXSTTBLY IMPUDENT. 
A Dramatic Trifle m One Act. 

Time in representation, thirty minutes. Scene. — A Drawing-room, 

CHARACTERS. 

Dick Cabteb. Charles (Wigley's Son). 

Mb. Wigley. Jennie Hayne (Wigley's Ward). 

Costumes, Modern. 

This is another of the series of plays referred to in the notice 
of " Cross Purposes." Four good characters, Charles, Wigley's 
son, and Jennie Hayne, Wigley's ward, love each other, but are 
given over to the green-eyed monster. Dick Carter is the irre- 
sistibly impudent young man, who, by his coolness and assur- 
ance, brings the lovers together again, and overcomes the 
prejudices of old Wigley, who is determined to marry his son to 
Miss Finnikin, an heiress. Dick succeeds in winning the old 
gentleman over, and all ends pleasantly. 



"IS THE MAN MAD?"* 
A Comedietta in Three Acts. 



Time in representation, forty-jive minutes. Scene. — A sitting-room in Mr. 
Vebnon's house. 



Mr. Vernon. 
Jack Marston. 
Fbed Hamilton. 



CHARACTERS. 



Lauba Vernon. 
/ tt gusta Vernon. 
Maggie Hamilton. 



COSTUMES. 

Mr. Vernon. — Tweed suit. 

Jack Mabston. — First dress, Morning suit. Second dress, Black frock coat, 
white vest, brown pants. 
Feed Hamilton. — Blue frock coat, white vest, grey pants. 
Lauba Vernon. — Black silk. 

Augusta Vernon. — First dress, Muslin. Second dress, Silk, 
Maggie Hamilton. — First dress, Morning costume. Second dress, Travel- 
ing costume. Third dress, Walking costume. 

A comedietta, three acts, and but one scene — a drawing- 
room. Easy and good, and could be gotten up, if necessary, in a 
very short time. Mr, Yernon has two daughters, Laura and 
Augusta, one of whom is sensible, but a little worldly, and the 
other highflown and always quoting poetry. To them comes 



ANALYSIS OF PLAYS. 



67 



Jack Marston, Fred Hamilton, and his sister Maggie. The 
sisters look down upon Jack, who is heedless and forgetful, but 
when the news comes that he has succeeded to a title and 
estate, the whole family begin to pay court to him. Jack, now 
Sir John, loves Maggie Hamilton, and speaks of his intention to 
many in such a way, that the Ternons conclude he means to 
ask one of them. So Laura rejects and sends away Fred, whom 
she really loves. It does not take her very long to repent, how- 
ever, and when Fred returns, determined to try his fate once 
more, she confesses it. Sir John then presents Maggie as has 
wife, much to the disgust of Mr. Yernon and Augusta. The 
play depends mainly upon Jack Marston, who is so honest and so 
destitute of tact _when he converses, that all the characters in 
succession ask, 1 ' Is the Man Mad ? " 



THE JACOBITE. 

A Comic Drama in Two Acts, by J. E. Planche. 

Time in representation, one hour and twenty minutest Period, 1745. 

Scene I. — Parlor of a public-house. 

Scene EE. — Drawing-room in an old English house. 

Action of the piece, two days, 

CHARACTERS . 

Sib Richard Wboughton. Lady Someefobd . 

Majob Mubeat. Widow Pottle. 

John Duck. Patty Pottle {her Daughter). 

Costumes, Time of George n. 

A play remarkably well suited to amateurs, calling for no 
great amount of histrionic power. The plot is interesting and 
unobjectionable ; the dresses are pretty. There must be a prac- 
ticable chimney in the second scene, down which John Duck 
tumbles at the right moment, just when the villain of the piece 
(Sir Richard, of course — villains always have several r's in their 
names) is going to burn the pardon of Edward Murray, the 
Jacobite. Sir Richard wishes to gain the hand — or, at all 
events, the lands— of his cousin, Lady Somerford, but fails also 
in this attempt, the lady being true to her Jacobite lover. John 
Duck, servant lad at " The Crooked Billet, " is a capital low 
comedian's part. Patty, his sweetheart, wears a pretty tucked- 
up chintz dress, and may make a good deal out of her words. 
Mrs. Pottle is a screeching and scolding village landlady. A 
servant, a corporal, and one or two soldiers, are also required. 



ANALYSIS OF PLAYS. 



JENNY LIND AT LAST! 

A Comedietta in Two Scenes, by Angus B. Reach. 

Time in representation, about half an hour. Period, 1850. 

Scene I. — Interior of students' tavern at Hiedelberg. 
Scene II. — Boom in an hotel. 

CHAEACTEES. 

Baron Swigitoff Beery. Landlord. 
Mr. Leatherlungs (Jenny's Papa). Students. 

Mr. Gag (a London Manager). Jenny Leatherlungs (alias Lind). 

Costumes, Blouses, Students' Caps, and Badges. 

Jenny Leatherlungs is mistaken for Jenny Lind, and feted by 
the students and besieged by the managers. It is an amusing 
little trifle, depending on the exertions of Jenny. It might be 
altered, and the name of Patti or any other diva of the day sub- 
stituted for Jenny Lind. The first scene would be more pic- 
turesque if placed in one of the students' gardens at Heidelberg, 
with lamps fastened to the trees, and torches. Any number 
of songs may be introduced. The Baron — which may be made a 
good part — and Jenny must sing well. The other parts are 
slight. There is a triangular duel at the end. The whole thing 
is quite a sketch, almost like a superior sort of charade, and for 
that reason very well suited to amateurs. 



JOHN DOBBS. 

A Farce in One Act, by J. Maddison Morton. 

Time in representation, forty minutes. Period, the present. Scene, a 
drawing-room. 

CHAEACTEES. 



Squire Fallowfteld. 
Major Frankman. 
Peter Paternoster. 
John Dobbs. 



John, (a Servant). 

Mrs. Chesterton, ) (Daughters of the 
Lucy, } Squire. 



Costumes, Modern. 

Squire Fallowfield and his family have always declined to 
make the acquaintance of John Dobbs, a farmer's son. He picks 
the old squire out of a ditch and gains admission to the house as 
a doctor. He turns out to be an Admirable Crichton : he plays, 
sings, draws, understands law, physic, and love, is a brother 



ANALYSIS OF PLAYS. 



89 



officer to Major Frankman, and marries the widow, Mrs. Ches- 
terton. Peter Paternoster is a low comedian, Major Frankman 
a walking gentleman, the Squire an old man. Yeiy easy to get 
up, and unobjectionable in plot and language; but not very 
comic, unless Peter makes it so. 



JULIET'S LOYE LETTER* 
A Monologue in One Act. 

Time in representation, twenty minutes. Scene. — A dressing-room, in disorder, 
CHARACTERS. 

Juliet (aYoung Lady). A Female Voice. 

Costumes, Modern. 

Juliet has spent her evening at a ball, and, after retiring to her 
room, finds a love letter from her sweetheart between the leaves 
of her tablets. Her spoken reflections will, for a few minutes, 
give good entertainment. Easily managed. 



JUST TWENTY YEAKS AGO* 
A Comedy in One Act, by J. Y. Prichard. 

Time in representation, fifty minutes. 

Scene. — The drawing-room of Lady Guilfoyle's country-seat. The appoint- 
ments are rich, but decidedly oriental. 

CHARACTERS. 

Colonel Hector Baviclie {aged 45). Lady Sophia Guilfoyle {aged 40). 
Mr. Knutsford {age immaterial). Violet Guilfoyle {aged 18). 

Mlle. Griffon {Governess, age doubtful). 

Costumes, Modern. 

This is a nice play, but may not suit some sentimental people, 
who would have preferred the Colonel to be constant to his first 
love. Lady Guilfoyle, a widow of forty years, still cherishes a 
romantic attachment for Colonel Hector Baviclie, who was her 
lover when both were youug. The Colonel, who has been serving 
his country in India is a hero, and at the age of forty -five still a 
handsome man. Yiolet Guilfoyle, aged eighteen, is a harum 
scarum girl, in charge of a French governess, but about to be be- 
trothed to Arthur, the Coioners nephew. She knows nothing 



90 



ANALYSIS OF PLAYS. 



about the romance, and looks upon mamma as qnite an old lady. 
The narration of the Colonel's exploits has fired her imagination, 
and when he returns after a ten years' absence, she sees him and 
loves him. Lady Guilfoyle, who has gotten herself np in brave 
attire to take instant possession of her old lover's heart, is so 
wrought upon by this discovery that, being a true mother, she 
puts on an ugly cap and disfigures herself generally. The Col- 
onel, after the manner of man, is captivated by Yiolet's youth, 
beauty, and resemblance to his recollection of her mother. 
"When she openly shows her preference for him, he surrenders at 
discretion, and Lady Guilfoyle, smothering her own heart, gives 
them her blessing. 



KATHABINE AND PETKUCHXO ; 

OK, THE S H AMIjSTGt OF THE TKTJE 
A Burlesque in One Act. 

Time in representation, forty-Jive minutes. 

Scene I.— The hall of the Stella d'Oro at Padua* 
Scene II. — The state-room of the Stella d'Oro. 
Scene III. — The kitchen of the Stella d'Oro. 
Scene IV. — The villa Petruchio at Orta. 

CHARACTERS. 

Petruchio (an English Earl of unlimited means, but of somewhat penurious 
proclivities) . 

Grumio (his courier, factotum, and rascal in general). 

Lucentio (a traveling tutor, with only one line to speak in the entire play, who 
eventually marries Bianca). 

Hobtensio (c/iie/ cook of the Stella d'Oro at Padua, in love with Bianca, sub- 
sequently marries her mother) . 

Gibbon (a distinguished man-milliner from Paris, in disguise). 

Mbs. Minola (widow of Bapiista Minola, and landlady of the Stella d'Oro, a 
managing Italian mamma). 

Katharine (her daughter, the shreiv). 

Bianca (her pretty sister, an overgrown girl in short frocks, kept so to prevent 
her beauty from being any hindrance to Kate's marriage). 

Waiters, Servants, Vitturini, Tailors, Haberdashers, etc., etr 

COSTUMES. 

Early Italian dress combines with modern English. A good guide for the 
former may be found in Leslie's famous picture, "The Taming of the Shrew." 
The combination may be left principally to the taste of the performers, but 
the following points should be especially observed. Petruchio wears a gray 
cheviot tourist's coatover his "bombasted doublet;" he also carries aknap- 
sack and alpenstock. Grumio sports a courier's bag of enormous propor- 
tions. Lucentio wears a college " mortar-board." Hortensio, the white cap 
and costume of the modern chef. Mrs, Minola wears a gigantic ruff and a 
towering chignon. Katharine's costume is partly taken from one of Titian's 
beauties, and partly from the modern "girl of the period;" she has black 



ANALYSIS OF PLAYS. 



91 



hair of enormous length, ready to let down and fling about when she gets in 
a rage. Bianca has fair hair hanging loose down her back, and is dressed in 
short frocks, pinafores, frilled trousers, and strap-shoes. 

An excellent burlesque, well written and very funny, with the 
usual amount of singing, dancing, etc. Dialogue unusually 
sprightly and good, and scenery not difficult, although it may 
seem so from the description of it, as it can be left entirely to the 
resources of the company. 



THE LADIES' BATTLE. 
A Comedy in Three Acts, by T. W. Robertson. . 

Time in representation, one hour and forty minutes. Period, 1816. Scene, a 
drawing-room. 

CHARACTERS. 

The Baron de Monteiceaed (Pre- Bkigadiee, Servants and Gensd- 

fect of the Department). aemes. 
Henri de Flavigneul. The Countess d'Auteeyal. 

Gustave de Geignon. Leonte (her Niece). 

Costumes of the Empire. 

This play, though in three acts, requires only one scene — a 
drawing-room. It is altogether easy to manage, but requires 
good acting. The plot is interesting. Henri de Mavigneui, a 
Buonapartist condemned to death, is hidden by the Countess in 
the disguise of one of her servants. The Baron comes to look for 
him; he is nearly betrayed several times — once by the uncon- 
trolled terror of Leonie— but the Countess, by her quick wits, 
always saves him. She and Montrichard have met before, and 
opposed their forces. Once more she wins this "Ladies' Battle'' 
by her strategy. Parts of this play are exciting, and it is very 
well written throughout. It is a great favorite with amateurs. 
The Countess is an ambitious role; Leonie is a charming part for 
a young girl. Both she and her aunt fall in love with Henri ; 
but the Countess, though she wins the other battle, loses this. 
Gustave de Grignon is a character part— brave mentally, a cow- 
ard physically. His admiration of the Countess makes him per- 
form a really heroic action, though with much sinking of the 
heart. The " Ladies' Battle " requires three good men and two 
good ladies to render it in a satisfactory manner. 



92 



ANALYSIS OF PLAYS. 



THE LADY OF LYONS * 

A Comedy in Five Acts, by Lord Lytton. 

Time in representation, about two hours. Period, 1795. 

Act I. — Scene room at M. Deschappelles' at Lyons. Scene II. — Exte- 

rior of a village inn — the " Golden Lion." Scene III. — Interior of Melnotte's 
cottage, staircase Itading to upper story. 

Act II. — Scene I. — The gardens of M. Deschappelles' house. 
" Act III.— Scene I. — Same as Act I . Scene II. — Moonlight. Scene II. — Same 
as Act I. Scene III. 

Act. IV. — Scene I. — Same as Act I. Scene III. 

Act V. — Scene I. — A street in Lyons. Scene II. — Same as Act I. Scene I., 
but the furniture more worn* 

CHARACTERS. 

Claude Melnotte. Captain Gebvais (1st Officer). 

Colonel Damas (Cousin of the Des- Captain Dupont (2d Officer). 

chappelles). Major Desmoultns (3d Officer). 

Beauseant. Notary. 
Glavis. Servant. 
M. Deschappelles (Pauline's Pauline Deschappelles. 

Father). Madame Deschappelles. 

Landlord). Widow Melnotte (Claude's Mother). 

Gaspar (Peasant). Janet (Landlady). 

Marian (Pauline's Maid). 

Action of the piece extends over three years. 
COSTUMES. 

All the characters wear different dresses in Act V., as a period of two and a 
half years elapses between Acts TV. andV. The costumes are of the Re- 
public, the uniforms are of the army of Italy. 

The success of this exquisite play depends entirely on Claude 
and Pauline, who should not only act but look their parts. Most 
people know the story of the beauty and pride of the Lady of 
Lyons, and the revenge of Beauseant and Grlavis, whom she had 
rejected. They induced Claude Melnotte, a gardener's son, to 
personate an Italian Prince and present himself as a suitor for 
Pauline. He, being desperately in love with her, yields to the 
temptation, woos and wins her, and takes her to his mother's 
cottage, where, pricked by conscience, he confesses all, restores 
her to her parents (though Pauline is ready to forgive him), and 
goes off with Damas to join the army in Italy. An interval of 
nearly three years passes. He returns, a hero and a colonel, to 
find Pauline on the brink of a marriage with Beauseant, who 
makes this the condition of saving her father, a merchant threat- 
ened with bankruptcy. All ends well, and Beauseant' s evil 
schemes are defeated. He is an aristocratic villian; Glavis, his 
friend, is a silly young fop ; Colonel Damas is a bluff soldier, 
risen from the ranks. All the other parts are very slight. Madame 
Deschappelles is silly and vulgar ; risen from the ranks, too, and 



ANALYSIS OF PLAYS. 



93 



with a mania for titled people. "Widow Melnotte is a pious old 
peasant. Janet and Mirian scarcely speak, and might be omitted, 
if desired ; and so might two of the officers. There are no diffi- 
culties of stage management, but Pauline is an arduous part, re- 
quiring pride, tenderness and passion. And the same may be 
said of Claude : in some of the scenes his remorse and despair are 
intense, and could not be given except by an actor of consider- 
able power. As this is one of the most poetic works of Lord Lyt- 
ton, it need not be said the language is very beautiful, and it 
would be a sin, or at all events a mistake, to give an unworthy 
rendering of it. I have seen it 'performed in public with a Claude 
Melnotte who looked like a butcher, utterly destroying the ro- 
mance and almost the possibility of the play. 



THE LAST LILY. 

A Comedietta in One Act, by Clement "W. Scott, 

Time in representation, thirty minutes. Scene. — A garden of the Chateau 
of St. Bernard, on the coast of Normandy. Time, 1793. 

CHARACTERS. 

Villeneuve (a Republican). Hectoe (a Republican). 

The Marquis de Launay (a Boy of Marie Vieleneuve. 
eighteen). Peasants, Etc. 

Costumes, French of the period. 

The scene of this little play is laid in France, in the year 1793. 
"Villeneuve, a Eepublican, with his daughter Marie, now occupy 
the Chateau of St. Bernard, formerly the property of an aristo- 
cratic lady,, who has sought shelter, with a number of other 
refugees, in England. She tells her young lover, the Marquis de 
Launay, a boy of eighteen, that she would like one of the 
white lilies for which the Chateau of St. Bernard was famous. 
He accordingly risks his life to obtain it, and reaches the 
chateau, where he narrowly escapes detection by Hector, the 
servant, but is finally discovered by Marie, who listens to his 
story with sympathy. There is but one of the famous lilies left, 
and to it she attaches an almost superstitious value. At first re- 
fusing it to the Marquis, she is finally overcome by his youth 
and courage, and not only bestows it, but protects him from her 
father and other pursuing Eepublicans. At the last Yilleneuve 
discovers him, but, at his "daughter's prayer, suffers the young 
Marquis to escape, carrying with him his prize— the Last Lily. 
A charming little piece. 



ANALYSIS OF PLAYS. 



LEND ME FIVE SHILLINGS * 
A Farce in One Act, by J. Maddison Morton. 

Time in representation, one hour. Period, about 1820. Scene. — A room ad- 
joining a ball-room. 

CHARACTERS. 
Mr. Go-lightly. Sam {a Waiter). 

Captain Phobbs. Mrs. Major Phobbs (a Widow, sister-in- 

Captain Spruce, M. C. law to Captain Phobbs). 

Morland. Mrs. Captain Phobbs. 

Ladies and gentlemen in the ball-room. 

COSTUMES. 

Ball costume of the early part of this century. 

A very well-known farce, depending chiefly npon Mr. Go- 
lightly, one of Jefferson's parts. The ball scene begins the 
farce well. Mr. G-olightly loses all his money in the card-room ; 
the fair widow asks him to take her home in a fly, and he tries 
every possible means by which to raise five shillings to pay the 
fare. There is a supper scene. This play requires quick acting 
and any amount of comic business to make it go well. 



A LESSON IN LOVE. 
A Comedy in Three Acts, by C. S. Cheltnam. 

Time in representation, two hours and Jive minutes. Period, the autumn of 

1864. 

Scene I. — A drawing-room. 

Scene II. — A garden terrace overlooking sands and sea. 
Scene III. — Same as Scene I. 

CHARACTERS. 

Captain Freeman. Mrs. Sutherland {a charming Widow). 

Orlando Meddlemark. Miss Anastasia Wlnterberry. 

Babblebrooe, {nicknamed "The News- Edith Leslie (her Niece), 
vaper"). 

Action of the piece extends over a week. 
COSTUMES. 

1st, Full evening dress ; 2d, Morning ; 3d, Demi-toilette. 

Ilrs. Sutherland gives the lesson in love to Captain Freeman ; 
ne has come home from India to look for a wife, and Edith 
Leslie is suggested to him as a very suitable one. Of course he 
falls in love with his instructress. Middlemar is paying his, 



ANALYSIS OF PLAYS. 



95 



addresses to Edith, so he and Mrs. Sutherland have a lively war 
of wits, for the fair widow is Captain Freeman's ally, and is 
truer to him than to her own heart. Babblebrook is a sortof 
Paul Pry, and Anastasia a conceited and fantastic old maid. 
This piece requires to he played briskly to make it go ; it may 
be considerably cut; and the same scene will serve throughout, 
if more convenient. It has no drawbacks nor difficulties in the 
plot, jokes, properties, or management, and is very well suited 
for private representation. Mrs. Sutherland and Middlemark are 
good characters. 



THE LIMERICK BOY;* 

OR PADDY'S MISCHIEF. 
A Farce m One Act, by James Pilgrim. 

Time in representation, forty-Jive minutes. 

Scene I. — Cottage flats, fifth grooves. Garden wall across, stage, fourth 
grooves, with centre gales practical. Set house, s. E. R., door practicable. 
Scene II. — A parlor in Mrs. Fidget's house, first grooves. 
Scene III.— Same as Scene I. 
Scene IV. — Same as Scene II. 
Scene V. — Same as Scene I. 

CHARACTERS. 

Paddy Miles. Reuben. 
Dr. Coates. Mrs. Fidget. 

Henry (his Son). Jane (her Daughter). 

Job (a Gardener). 

COSTUMES. 

Paddy Miles. — Grey frieze coat, red vest, blue handkerchief, corduroy 
breeches, grey stockings and ankle shoes, high crown hat. 

Dr. Coates. — Black cutaway coat, embroidered vest, black breeches, black 
stockings, shoes and buckles, white neckcloth, white wig, cane. 

Harry. — Modern walking suit. 

Job. — White shirt, red vest, black velveteen breeches, green apron, high- 
low shoes, grey stockings; colored handkerchief, brown head of hair. 

Reuben. — Green shooting coat, white pearl buttons, plush vest, drab 
breeches, blue stockings, high-low shoes, colored cravat, countryman's hat. 

Mrs. Fidget. — Respectable old lady's dress. 

Jane. — Walking dress. 

A boisterous farce, and has a capital Irish boy's part ; in fact, 
there is not much else. Paddy is a sort of Irish Puck, and goes 
from place to place playing mischievous but laughable pranks, 
which get him into a great deal of trouble. In one scene he 
assumes a woman's dress; and, as most of his jokes are played 
in the interest of Harry Coates, to gain his father's consent to his 
marriage, Harry at last stands between Paddy and the righteous 
wrath of his victims, and gets him off scot free. 



96 



ANALYSIS OF PLAYS. 



A LITTLE CHANGE. 

A Farce in One Scene, by Sydney Grundy. 

Time in representation, about forty minutes, Period, the present. Scene, a 
room in an hotel, with glass door leading to a terrace. 

CHARACTERS. 

Edwin Larkspur. Waiter. Mrs. Plunges. 

Captain Plunger. Ethel (Edwin's Bride). 

Costumes, Modern. 

Edwin has found a " little Paradise go a long way," and is 
longing for " a little change." The Plungers presently appear 
at Dumpington. Edwin having formerly been an admirer of 
Mrs. Plunger, and Captain Plunger of Ethel, and neither couple 
knowing that the other are bride and bridegroom, numerous com- 
plications occur. A brass band is heard behind the scenes at 
one time, then a hurdy-gurdy or barrel-organ, a woman with a 
tambourine, and a man with bagpipes. The stage management 
of this piece is very troublesome, aud the dialogue is composed 
of short sentences (sometimes called " choppy"), which always 
requires a great deal of rehearsing. The badinage between the 
ladies is more lively than lady-like, but the piece is brisk, and 
the continual interruptions of the musicians of Dumpington take 
very well with an audience, being a sort of thing that everyone 
can understand. 



THE LITTLE SENTINEL. 

A Comedietta in One Act, by Thomas J. Williams. 

Time in representation, forty minutes. Period, the present. Scene, a room 
in a farm-house ; flight of stairs Leading to a door. Through lattice window 
the sea is seen. 

CHARACTERS. 



Mr. Wheedleton Coaxer [an 

elderly Lady-kilier). 
Captain Clarence Courtlngton {of 

the Dragoons). 
Sm {a young Farmer). 



Letty Hawthorne {Proprietress of 
a Farm). 

May {her Friend, aged 17, the Little 
Sentinel) . 



COSTUMES. 

Coaxer. — Eccentric. 
Courtington. — Undress uniform. 
Sim. — Country lad's holiday suit. 
Letty. — Morning dress. 

May. — Peasant's striped petticoat, chintz jacket, striped stockings, shoes, 
etc. 



ANALYSIS OF PLAYS, 



97 



May is the little sentinel, who mounts guard over Letty dur- 
ing the absence of May's brother, Frank, a sailor, engaged to the 
young widow, who is a very decided flirt. When May cannot 

keep off the two admirers, Coaxer and Courtington, she brings 
them in at the same time. She tries all sorts of expedients to 
get rid of them, and finally makes each of them fall in love with 
herself, to the anger and despair of her own sweetheart, Sim — a 
good part (low comedy). This is a most amusing little piece. 
May is really a charming character, formerly played by Mrs. 
Bancroft. Coaxer is "an old twaddler ;' ; Courtington, a lisping 
piece of affectation. An excellent piece for amateurs, sure to go 
well, as it is very light and amusing. All the parts are good and 
distinct ; no one is over- weighted. May has most to do. She 
should be a lively actress, bright and piquante. 



LITTLE TODDLEKENS. 
A Farce in One Act, by Charles Mathews. 

Time in representation, fifty minutes. Period, the present. Scene. A draw- 
ing room; window opening on the balcony. 

CHARACTERS. 

Brownsmtth. Captain Liiteepop. Annie Babbtcombe. 

BabbicOjjIBE. Amantkis. Susan [a Servant). 

Costumes, Modern. 

Amanthis is sometimes played by a gentleman. If taken by 
a lady, she Should be tall and stout. Her step-father, Brown- 
smith, pretends that his daughter is a child, "Little Toddlekins :' ? 
she is really very much grown up. Brownsmith is a capital 
part, written by Charles Mathews for him sell. The farce is very 
amusing, but rather well known. Babbicombe is an " old man " 
The other parts are slight. There should be a window opening 
on to a balcony at the back. 



LOAN OF A LOVER* 
A "Vaudeville in One Act, by J. R. Planche. 

Tine in representation, one hour and twenty minutes. Period, early part of 
this century, or the present. 

Scene. — Gardens bordering a canal near Utrecht. 

CHARACTERS. 

Captain Amersfort. Delve (a Gardener). 

Peter Spye. Gertrude. 

Swyzel {a Butler). Ernestine Rosenbaal. 



98 



ANALYSIS OF PLAYS. 



COSTUMES. 

Amebsfobt, military tm dress ; Ernestine, walking costume ; the others* 
Dutch peasants' dress. 

One of the best plays that amateurs can choose. The scene is 
pretty, and not at all a difficult subject. The wings and flies 
can represent trellis-work with creeping plants ; the hat at back, 
a bit of a Butch garden, formal clipped hedges, etc.; beyond, a 
reach of the canal, the trees of the further side reflected in it. 
The spire of the Cathedral (in faint greys) makes a pleasing 
incident in the background. Where all this is inconvenient, the 
scene may be transferred to a room — an entrance-hall, for 
instance. The costumes are effective, and can be managed at 
home. The plot is amusing. Gertrude (Ernestine's maid) begs 
for the loan of a lover, her mistress has so many and she has 
none. Ernestine lends Captain Amersfort. The ruse succeeds. 
Peter speedily becomes jealous and finds out — for he is very 
Dutch, and takes a long time about everything— that he is 
in love with Gertrude : Delve and Swyzel are also included in 
the list. Ernestine thinks Captain Amersfort is playing his part 
too well, and recalls her lover rather hurriedly. Gertrude, Peter, 
and Swyzel have songs. An excellent play altogether. Peter 
Spyk and Gertrude must be good. 



THE LOCKED DOOR* 
A Monologue in One Scene. 

Time in representation, fifteen minutes. 
Scene.— A boudoir. Chahacteil — Emily. 

Costume, Modern. 

Emily, indignant at being left alone by ber husband, deter- 
mines that when he does come he shall not be able to enter, she 
therefore locks the door and throws the key away. Just at this 
point he arrives, and they converse, she reproaching him through 
the locked door. She finally discovers that he has been fighting 
a duel, of which she was the indirect cause, and, after a frantic 
search, she finds the key, begs her husband's forgiveness, and all 
is well. Affords scope for good acting, 



ANALYSIS OP PLAYS. 



THE LOST HEIR ; 
OB, THE ABBE DE L'EPEE.* 
An Historical Drama in Three Acts, prom the German. 

Time in representation, one hour and thirty minutes. Scenes. — A garden, a 
front chamber, and a drawing-room, 

CHAEACTEKS. 

The Abbe De L'Epee (70). 

Julius, Count of Solar (a DeafJIvJe, under the name o/" Theodore, 18). 

Daklemont (his Guardian and maternal Uncle, 53). 

St. Alme (Dareemont'S/S'oji, a Lawyer, 20) 

Frauval, Senior, 55). 

Frauval, Junior {his Son, a Lawyer, 29). 

Dupre (an aged Sa vant, 67). 

Dubois (a Waiting Man, 23). 

Dominic lan aged Servant o/'Frauval, 78). 

Martin (formerly Doorkeeper of the old Coicnt, 83). 

This Scene is laid in Toulouse, Fi-ance* 

Costumes, Modern. 

This little drama, though quite simple in plan and execution^ 
is nevertheless calculated to produce high dramatic effect, and 
rivets the spectators' attention from the beginning to the end, 
on account of the deep interest inspired by the unhappy condi- 
tion of the young hero. Julius is exposed in Paris at the age of 
ten by his uncle, who procures a written evidence of the boy's 
death, and then seizes upon his property. The Abbe de L'Epee, 
director of the Deaf aud Dumb Asylum in Paris, finds the youth 
and educates him. Suspecting the boy to be of noble blood, he 
bestows all his care on the helpless deaf mute during eight years, 
creates his soul anew, as it were, and in the meantime endeavors 
to find out the place of his birth. For this purpose the Abbe 
travels with his protege over a great part of France, and finally 
arrives at Toulouse, which city the young man recognizes as the 
place of his home. The Abbe consults the young lawyer Frau- 
val, a friend of St. Alme, who is the son of Julius' uncle. Dar- 
lemont refuses to recognize his nephew, but is at last prevailed 
upon to restore Julius to his rightful inheritance, by the threat- 
ened exposure of his son, St. Alme. So the matter is settled 
amicably. 



100 



ANALYSIS OF PLAYS. 



LOVE. 

A Comedietta m Three Acts. 

Time in representation, forty minutes. Scenes. — Act I. A drawing room* 
Acts II. and III. A pic-nic ground. 

CHARACTERS. 

Sib Berkeley Cubkyon. Lady Chesham. 

Feed Cueryon. Blanche Chesham. 

Captain Jack Teavers. Emily. 

COSTUMES. 

Though the characters will appear throughout this play in ordinary 
nineteenth-century costume, it will add considerably to the effect if the 
dresses are changed in the second act. This is not positively necessary, 
but it will seem more natural if Fred Curryon and Jack Travers, who may 
wear Norfolk jackets and knickerbockers in the first act if they choose, 
should adopt a less fanciful style of dress when they go into ladies' society. 
As to the ladies themselves, it is well known that they have a different cos- 
tume for every occasion. Sir Berkeley Carryon may, and Emily should, 
wear the same dress all the time. 

Dan Cupid often laughs to scorn all the dictates of common- 
sense, and upsets the best laid plans. And so, when Lady 
Chesham and Sir Berkeley Curryon plan the marriage of their 
respective children, "both of whom are wealthy, they do not take 
into consideration the gallant hut impecunious Jack Travers, or 
the servant girl, Emily, who play the part of intimate friends to 
Fred and Blanche. They pair off in the wrong way, to the con- 
sternation of the elders, who, however, have to make the "best of 
it. This play is simple, hut effective; and gotten up with very 
little trouble. 



THE LOVE FLO WEE.* 
A Comedietta in One Act, by E. Legouve and P. Merimee. 

Time in representation, one hour. Scene, A handsomely-furnished 
parlor in a country house. 

CHARACTERS. 

Colonel Sacetille {aged 45). ' Mademoiselle Jaques {starched and 

Me. S:\hth. prudish). 
Lady Montgomeby {middle-aged). Maid. 
Julia (her Daughter, aged 18). 

Costumes, Modern. 

This little play shows the unselfishness of a mother's affection. 
Lady Montgomery joyfully anticipates the return of her early 



ANALYSIS OF PLAYS. 



101 



lover, Colonel Sackville, from Africa. She is still faithful to his 
memory. Her daughter, Julia, fascinated by the brilliant deeds 
of the hero, falls deeply in love with him, and offers him the 
" love flower/' which he declines; but the mother, seeing that 
her daughter's happiness is at stake, sacrifices her own feelings, 
and gives him the flower a second time, and with it Julia's hand. 
There are two subordinate parts which are comic, and relieve the 
seriousness of the play. 



LOVE MASTER— LOYE MAN* 
An Acting Charade in Three Acts, by Henry Hersee. 

Time in representation, forty minutes. Scene, Mrs. Blossom's sitting room, 
in her sea-side apartments at Burlington. 

CHARACTERS. 

Captain Charles Rashley Ardekt (24, of the 199th Light Infantry, 

in love with Mrs. Blossom). 
Tim O'Grady (32, his /Servant, in love with Patty). 
Miss Rose Blossom (20, a rich young Widow). 
Miss Prudence Rigid (52 (?), her Maiden Aunt). 
Patty Larktn (22, Mrs. Blossom's Maid). 

COSTUMES, 

Captain Ardent. — Irock coat, summer trousers and. vest, black or white 
hat. 

Tim O'Grady.— Shell jacket, trousers with stripe of crimson braid, and 
forage cap. 

Mrs. Blossom. — Morning costume. , 

Miss Prudence Rigid. — Rather short dark silk dress, white stockings, 

shoes with sandals, chignon, false hair front, either of corkscrew ringlets or 

long bands down sides of face ; black velvet ribbon across forehead ; no 

crinoline. She has a red nose. 
Patty. — Chintz dress, small white apron, smart white cap, with blue or 

pink ribbons. 

This little play shows how Captain Ardent pays his court to 
the widow Blossom, and his man Tim to her maid, thereby ex- 
citing the horror and disgnst of Miss Prndence Kigid. It is 
comical, and the parts are good. One scene answers for all the 
play. 



LOVE TO MUSIC. * 
A Comedietta in One Act. 

T 'ine in representation, twenty-five minutes. Scene, a Moorish chamber. 
CHARACTERS. 

Mercedes (a young Widow). A Male Voice loSing^ 

Juanitia {her Sister). A Female Voice. 

Costumes, Modern. 



102 



ANALYSES OF PLAYS. 



A play for two female characters ; not difficult. Two sisters, 
hearing a serenade, as they think, under the window every even- 
ing, quarrel over the supposed lover, who turns out to be a pro- 
fessional singer, practising his song. The Moorish chamber is 
not essential ; any drawing-room scene, with a window in centre 
flat, will do. 



LOVE'S YOUNG DKEAM. 
A Comedietta in One Act. 

Time in representation, forty-Jive minutes. Scene, a drawing-room. 
CHARACTERS. 

Edward Grevllle (aged 40). Cecil, Vavasour (aged 25). 

Mr. Melbourne (Alice's Father, Alice Greville (aged 37). 
aged 65). Florence (Alice's Daughter, aged 18). 

Costumes, Modern. 

An interesting and strong play, though short. Only one scene 
— a drawing-room. Situations very dramatic, and wo aid require 
careful treatment. Florence Greville and Cecil Yavasour be- 
come tenderly attached to each other during the absence of the 
former's mother. On learning the name of her daughter's lover, 
Mrs. Greville is horror-stricken, and forbids her ever to think of 
him again. Many years' previous Edward Greville had deserted 
his wife and child, and run away with the mother of Cecil Yava- 
sour. The old father, Mr. Melbourne — and this is an excellent old 
man's part— intercedes for the young couple, but Mrs. Greville 
continues inexorable. Meanwhile Edward, not hoping for for- 
giveness, but repentant, and longing to see his family once more, 
comes and introduces himself to Florence as a friend of her dead 
father. They have a pathetic scene. Mrs. Greville recognizes 
him. He begs her to relent, but all is in vain until Mr. Mel- 
bourne at last prevails with her. This is a strong and touching 
scene. Edward is about to bid them all a long farewell, when 
his wife's pride utterly breaks down, and she forgives him, 



LOVELY. 

An Acting Charade in One Act, by H. P. Grattan. 

Time in representation, one hour. 

Act I. — Scene — Is supposed a chamber in Capulet's house. 
Act II. — Scene — A room in Clarence Nugenx's chambers. 
Act III. — Scene — Same as Scene I. 



ANALYSIS OF PLAYS. 



103 



Me. Smiley. 
Mks. Smiley. 
Clakesce Nugent. 



CHARACTERS. 



Lucy Nugent. 



Aunt Matchem. 
Ellen Smiley. 
Beebeet Seville. 



iV. B. — The characters in the first part of the Charade are svpposcd to be about 
to rehearse the tragedy of " Romeo and Juliet," and are dressea as under : 

Me. Smlley (as Capulet). Mrs. Emiley {as Lady Capulet). 

Heeblet Neville (as Borneo). Avsst Matchem (as the JS urse). 

Ellen Smlley (as JuUet). 

One of the best of the series of plays spoken of in the analysis 
of " Cross Purposes," and can also be acted as a charade. Her- 
bert Seville is a brilliant young artist, in love with Ellen Smiley, 
but too bashful to come to the point. Aunt Matchem makes 
up her mind that he shall. The Smiley family are lovers of the 
" divine William," and in the first act are supposed to be about 
to rehearse the tragedy of " Eomeo and Juliet/' This gives a 
chance for picturesque dressing and for the recitation of a portion 
of the famous " balcony scene. 5; Aunt Matchem, a motherly 
old spinster, is acting as manager. Mr. and Mrs. Smiley have a 
very pleasant and piquant dialogue to commence with, followed 
with the rehearsal of the " balcony scene/' which, it is needless 
to say, is entirely successful in bringing about a declaration 
between the lovers. In the second act Herbert Seville goes to 
the aid and comfort of his friend Clarence Nugent, also an artist, 
who is ruined through the deceptions and falsehoods of a pro- 
fessional black-leg. By an innocent artifice he makes Clarence 
win the prize offered by Aunt Matchem for the best portrait of 
Ellen Smiley, and this sum rescues Clarence. The characters all 
pronounce the portrait Love-Ly, which is also the word. 



LUCY'S LOVE LESSON.* 
A Comedietta in One Act, by John Latey, Jr. 

Time in representation, twenty minutes. 
Scene. — Mks. Cholmondeley Carney's Bloomsbury drawing-room. 
CHARACTERS. 

Me. Aldekman Tuetle. Mks. Ceolmonleley Cakney. 

Tom JLkankhaet. Lucy ((her Daughter). 

Costumes, Modern, 

A short play in one scene. Would do capitally for an after- 
piece in an amateur entertainment. Parts all good, and the 
work very evenly divided. Alderman Turtle is very stout and 



104 



ANALYSIS OF PLAYS. 



very elderly, but is, notwithstanding, smitten with the charms 
of Lucy Carney, whose mother promotes the match. Lucy, 
however, has no eyes hut for Tom Fraukhart, a young fellow — 
nice, hut poor. The Alderman coming to propose, they have a 
laughable scene, in which he has to dance. He has just gotten 
on his knee and to the point, when Tom, who has been listening 
in the conservatory, tumbles into the cistern. This creates a 
diversion in the enemy's camp, in the midst of which Lucy says 
"yes" to Tom, and Mrs. Carney, learning that he has just 
stepped into a nice salary, gives her consent. 



LYING IN OKDXNARY* 
A Farce in One Act, by K. B. Peake. 

Time in representation, fifly-two minutes* 

Scene I.— Garden of Me. Wooburn's house. French windows .r. and l. c. 
in flats. 

Scene II. — A room in the house of the Admiral . 
Scene III. — A road or lane near the village. 
Scene IV. — A room in the Admiral's house. 
Scene V.— Miss Fluke's apartment. 



CHABACTERS. 

Admiral Fluke. Stock (a Gamekeeper). 

Wooburn. James. 

Peter Yarn {an old Boatswain). Estella ( Protege of the Admiral). 

Patrick Giacomelli (an Italian wan- Miss Fluke [otherwise Mrs. Walrus, 

dering Boy, of English parentage). Sister of the Admiral). 

Mr Achilles Aueait. Hannah. 

Dominico. Two Servants of the Admiral. 



COSTUMES. 

Admiral Fluke.— Velvet shooting jacket, wMte hat, white cord breeches, 
leather gaiters. 
Wooburn. — Frock coat, -white trousers. 

Peter Yarn —Blue jacket turned up with red, glazed hat, bald grizzled 
wig, blue trousers. 

Patrick Giacomelli.— Shabby velveteen jacket, green cap, short trousers, 
old gaiters. 

Mr. Achilles Au fait.— Modern suit. 

Dominico.— Green jacket, foreign cap, long black hair, trousers, high- 
lows. 

Stock.— Gamekeeper's dress. 
James.— Livery. 

Estella.— Lady's morning dress. 
Miss Fluke. — Prim morning dress. 
Hannah. — Chambermaid's dress. 



ANALYSIS OF PLAYS. 



105 



The fan of this piece is made principally by Peter Tarn, a 
mendacious old sea-dog, who is given up to romancing. But all 
the characters are good. Admiral Fluke and his sister, Miss 
Fluke, who is really Mrs. "Walrus, stand greatly in awe of each 
other, and have each a secret. E Stella, the Admiral's ward, 
is really his daughter, and Miss Fluke, married sub rosa to 
Lieutenant Walrus, since deceased, has ever since been looking 
for her son Tommy, carried off when a child by a wandering 
Italian, Giacomo. As eight thousand pounds depend upon her 
celibacy, she has been silent with regard to her marriage. Mr. 
"Wooburn, in love with Estella, has been so unfortunate as to 
offend the Admiral, who urges upon her acceptance Mr. Achilles 
Aufait, who knows everything, and meddles with everything. 
The manner in which the secrets are brought to light, Tommy 
discovered in a wandering Italian boy, Mr. Aufait discomfited, 
Estella and Wooburn made happy, and all through the instru- 
mentality of the old sea-dog, are* aptly and agreeably described 
in the play, which, though called a farce, should come under the 
head of comic drama. 



A LYEICAL LOVER* 
A Comedietta in One Act, by H. Saville Clark. 

Time in representation, twenty-five minutes. Scene. — An elegantly -furnished 
drawing-room. 

CHARACTERS. 

Frank Geevtlle (a Visitor). Alice Fane {an Heiress). 

Costumes, Modern. 

A pretty two-part piece, which requires a sprightly, engaging 
couple to act it. Miss Alice Fane, with a soul attuned to poetry, 
is afraid of being married for her money, and Mr. Frank Greville, 
who comes to visit her, is afraid that the heiress is as prosaic as 
her stocks. The steps by which they discover their mutual 
mistake, and become interested in each other, are described in 
the dialogue, which is most entertaining. Excellent for an 
afterpiece." 



106 



ANALYSIS OF PLATS. 



THE MAID OF HONOR 

A Comedietta in One Act, by J. P. Cooler. 

Time in representation, three-quarters of an hoar. Period, the lQth Century. 
Scene, Saloon in -the Palace of Carrara. 

CHARACTERS. 

Count Leoni. Gitilta, Countess d'Estrella (the 

Bakon Toetoni. Maid of Honor). 

Laura d'Urbino (disguised as 

Olympia (Duchess of Carrara). Count Cesario). 

Costumes. — Doublets, trunk hose, etc.; ladies' satin dresses, trains. 

The chief objection to this pretty comedietta is that two of 
the ladies hare to dress as pages. Laura appears in this costume 
throughout the play, and Giulia assumes it during the perform- 
ances. Tortoni is a comic u old man;" Leoni a light comedian. 
He is a Prince of Savoy, betrothed to the young Duchess, and he 
comes under the name of his own envoy to make the lady's 
acquaintance. She takes a fancy to the Count, and therefore de- 
clines the hand of his master. Giulia finds out who he is, and 
herself appears on the scene as Prince Louis, to the amazement of 
the real owner of the name. Giulia is the spirit of mischief in- 
carnate ; bat when she has sufficiently bewildered and annoyed 
everybody, she sets all right. This play requires bright, lively 
acting. There are no difficulties about managing it. A couple 
of pages are required. 



MALE AND FEMALE* 

A Comedietta in One Act. 

Time in representation, thirty minutes. Scene, A plainly-furnished room. 

CHARACTERS. 
Gustave. Helene. 

COSTUMES. 

Gustave. — A business suit for a young man, and an old man's dress, 
umbre la and green spectacles. 

Helene. — Costume of a woman cf fifty years and large spectacles, and a 
young giiTs dress. 

An easily gotten up little play, as any ordinary room will do 
for the scene. Two young people try to mystify each other by 
simulating, the one an old man and the other an old woman. 
The costumes must be well managed, and a great deal of fun can 
be got out of it. 



ANALYSIS OF PLATS. 



107 



THE MAKEIED WIDOWS.*' 
A Comedietta in One Act. 

Time in representation, thirty minutes. Scene, A drawing room. 
Time, the present. 

CHAKACTEKS. 

Clarence {Lieutenant on leave). Louise } (^ ie Married Widows). 

Costumes, Morning. 

Two ladies, whose husbands are army officers, and away on 
duty, become tired of the uneventful current of their existence, 
and insert advertisements in the Matrimonial News, with the 
hope of dissipating their ennui. These are answered in person 
by Clarence, a young " lieutenant on leave, " who is looking for 
a wife with money. Ee interviews first one lady, then the 
other ; proposes to both, and is discovered by both to be identi- 
cal with the Clarence who made love to them both when school- 
girls. The situation becomes very embarrassing for the gentle- 
man, and very entertaining for the ladies, when a letter arrives 
announcing the immediate return of the husbands, which puts 
an end to the sport. 



MASQUERADING- FOR TWO* 
A Comedietta in One Act. 

Time in represent dion, thirty minutes. 

Scene, A small ro .m, tewing for dressing-room, at the residence of Lady 
Emily Fielding, Londcn, cn the night of a bail. 

CHARACTERS. 

Countess Lelia {an Italian lady). Sm Hugh Stanley. 

COSTUMES. 

Countess Lelia. — Evening dress with an opera cloak over it. 
Sm Hugh Stanley.— Evening drees, with an overcoat ; also a servant's 
ha t and coat. 

A capital little dialogue. The Countess Lelia going to a ball, 
expecting to meet Sir Roger Bnford, encounters in an ante- 
room his friend/ Sir Hugh Stanley. After a spirited and in- 
teresting scene, in which they both do some masquerading, they 
become engaged. 



108 



ANALYSIS OF PL^TS. 



MATCHED BUT NOT MATED ; 

OR, A LUNATIC "M'ALGRE LtTI." 
A Farce in One Act, by J. B. O. 

Time in representation, thirty minutes. Scene. — A drawing-room, simply 

furnished. 

CHARACTERS. 

Monsieur Belaire (a retired Trades- Boy (from Telegraph Office). 

man). Constantia (Belaire's Niece by 

Theophilus Skipreck (proposed Hus- marriage). 

band of Constantia). Rose (a Maid Servant). 

Victor (Cousin to Constantia). 

COSTUMES. 

Modern. In one part of the play Victor assumes the dress of a woman. 

This is a very good play for amateurs, and requires but one 
scene. Skipreck, a countryman, has come to marry Constantia, 
whom he has never seen, and who loves her cousin Yictor. The 
latter has a scene with Skipreck, in which he personates the 
young lady, and, aided by Rose, the maid-servant, manages to 
disgust the suitor. Monsieur Belaire, the uncle, becomes per- 
suaded that Skipreck is mad, and the proposed match falls to the 
ground. Yictor then pleads his own suit successfully. 



A MEDICAL MAN. 
A Comedietta in One Act, by "W. S. Gilbert. 

Time in representation, forty minutes. Scene. — An untidy and shabbily- 
furnished apartment. 

CHARACTERS. 

Alphonso de Pickleton (a Dramatic Jones [a Manager). 

Author). Belinda (a Young Lady). 

Costumes, Moderr . 

A very good little play in one act. The scene requires quite a 
number of properties, but will be easily managed. De Pickleton, 
a poor dramatic author, lives in a particularly untidy and shabby 
apartmeut. Poor as a church mouse, he is still exceedingly 
anxious to marry, but being too timid to court a woman lace 
to face, he advertises for a helpmeet. Belinda answers, in 
order to escape from a rspulsive marriage, and encloses her like- 
ness, but by a mistake sends her grandmother's picture instead 
of her own. This is a settler to poor Alphonso, but Belinda 



ANALYSIS OF PLAYS. 



109 



adopts the ingenious plan of pretending to tumble down stairs 
just outside his door. Of course he picks her up and falls in love 
"with her on the spot. They have an amusing scene, in which 
he pretends to he a medical man. There is a good deal of good 
comic business, and the dialogue is witty. Belinda and Al~ 
phonso of course settle matters happily. 



MEG S DIVERSION. 



A Drama in Two Acts, by H. T. Craven. 



Time in representation, one liour and forty-jive minutes. Period, the present. 
Scene I. — Par 7 orin Crow's farm-house. 

Scene II. — Garden ; paling across back, with gate-house and porch, L.; flat 
landscjpe. 

The action of the piece extends over three months. 



CHARACTERS. 



Jeremy Crow {a Devonshire Farmer). 
Ashley Merton, Esq. \of the Hall). 
Jasper Pidgeon {a Carpenter). 
Roland Pidgeon (his Brother), 



Villagers and Farm Laborers. 



Eytem (a Lawyer). 
Mrs. Netwell (a Widow), 



COSTUMES. 

Crow. — Tlie usual dress of a substantial farmer ; cord breeches and top 
boots. 

Merton. — First dress, Fashionable morning suit. Second dress, Black 
morning suit, white vest, hat band. 

Jasper. — First dress, Cord trousers, brown short-tailed coat, blue velvet 
waistcoat, scarlet neck-tie and white hat. Second dress, Blue frock coat 
drab trousers, and billycock hat. 

Roland. — Fashionable morning suits. 

Eytem. — Black, with white neck-tie. 

Cornelia. — First dress, Traveling dress. Second dress, Light silk, with 
hat or bonnet. 

Margaret. — First dress, Light print trimmed with blue, broad straw hat. 
Seeoud dress, Violet velvet jacket, black. handkerchief on head. 
Mrs. Netwell. — Handsome silk dresses, shawl and bonnet. 



Extremely well suited to amateurs. Lively and amusing 
generally, with a little touch of pathos to make it interesting. 
Meg's diversion is to make fun of her lover, Jasper Pidgeon. 
Her high spirits make her really cruel, and Rowland vows she 
shall suffer for it. All the characters in this play are good. 
Jerry Crow, the old father, hard-Tip and unscrupulous, Ashley 
Merton, a fine example of the genus "prig," and Eytem, an 
unpleasant lawyer, as well as two Pidgeons, are all well drawn 
and natural. Most of these are " character parts." Mrs. Net- 
well is a scheming widow, who nets Ashley Merton, Esq., though 



110 



ANALYSIS OF PLAYS. 



he has educated Cornelia on purpose to be his wife, and tried to 
make her as priggish as himself. A lady comedian could hardly 
wish for a better part than Meg. In the second act Calderon's 
picture of " Broken Tows " is realized. The scene should be 
arranged accordingly. There are no difficulties of stage man- 
agement. 



inSCHIEVOUS BOB * 
A Comic Drama in One Act. 

Time in representation, thirty minutes. 

Scene.— A room in a cottage. A door in flat centre, opening into the street; 
on r. of door a window, practical, backed by street. 

CHARACTERS. 

Bob. Sam {a Carpenter), 

John Jones (a Gardener). Mb. Thompson. 

William Seacoal {an Engineer). Servant. 

COSTUMES. 

Bob. — First dress, Old pair of pants, with a tear in one knee, one suspen- 
der, shirt sleeves, one sleeve rolled up, congress gaiters, old, flaxen hair, 
quite rough. Second dress, Jacket, straw hat, hair combed and parted. 

John Jones. — Linen check jacket, green striped, double-breasted waist- 
coat, corduroy trousers, and old black hat, thick bluchers. 

William Seacoal. — Pilot coat, over a corded jacket, waistcoat, and trous- 
ers, black hair and whiskers, fur cap, Wellington boots. 

Sam. — Neat working carpenter's jacket, apron and trousers, brown paper 
cap. 

Me. Thompson. — First dress, Fashionable colored coat, white hat, trousers, 
etc. Second dress, A double dress, the fac simile of the first, the coat split 
up f he back, and covered with dirt, 

Servant. — Livery, 

A comic drama and a very nice little piece, going to show that 
there is good in everybody, provided the right way is taken to 
call it forth. Mischievous Bob's name denotes his character. 
He is at once spoiled and neglected by his two adopted fathers, 
John and Bill, who never can agree upon any course of treatment. 
But they get into trouble. John cannot pay the rent, and Bill 
has gone security for five pounds, and cannot get it. Bob is so 
worked upon by these distresses that he wakes up to a sense of 
his own worthlessness, and makes up his mind to turn over a 
new leaf and be good for something. He takes the money 
which was to have paid his apprenticeship and settles the rent 
bill. Then a grateful person, whose child Bob had pulled out of 
the river, sends him a present of five pounds, which meets Bill's 
necessities, and all ends well. This simple little story is 
treated very happily in the play, and very comically, too, albeit 



ANALYSIS OF PLAYS. 



Ill 



with a touch of pathos, and will always be popula v with an 
audience. 



THE MISERIES OE HUMAN LIFE ; 
BBOCEOR, CROAKER'S TROUBLES.* 
A Farce in One Act, by Benjamin "Webster. 

Time in revresentation, fifty-eight minutes. Scene, A Parlor. 

CHARACTERS. 
Mr. Ally Croaker, Mrs. Courtney 

Mr. Mildmay. Margaret. 

COSTUMES. 

Mr. Ally Croaker. — Nankeen trousers, white waistcoat, striped morning 
gown, and white stockings. First change cn stage, Bine body coat, gilt but- 
tons, and boots. Second change, Brown great-coat, hat, gloves, and stick. 
Third change, A monkey jacket and crushed hat. 

Mr. Mildmay. — Black trousers, yellow and green striped velvet waistcoat, 
striped morning gown. Change to Croaker's first coat. 

Mrs. Courtney. — Green satin pelisse and white bonnet. 

Margaret. — Blue cotton dress, white apron and cap. 

Croaker is a fidgetty man with whom nothing goes right. He 
does nothing but tear around and scold. Mildmay is his oppo- 
site. Margaret is his much abused maid of all work, and Mrs. 
Courtney the widow they both want to marry. The play gives 
an amusing account of some of Croakers' troubles, and ends by 
Mildmay becoming the successful suitor. 



MONEY* 
A Comedy in Five Acts, by Lord Lytton, 

Time in representation, about two hours and a half. Period, the present. 

Action of the piece extends over a year, 

Act I. — Scene I.. — A drawing-rocm. 

Act. II. — Scese I. An ante-room. Scene II. Same as Act I. Scene I. 
Act III.— Scene I. Same as Act I. Scene I. Scene II. A boudoir. 
Act IV.— Scene I. Room in Evelyn's house. Scene II. A large saloon. 
Act V. — Scene I. (Frequently omitted.) A room at a club. Scene II. Same 
as Act I. Scene I. Scene III. Same as Act IV. Scene II. 

CHARACTERS. 



Alfred SJvelyn. 
Sir. John Vesey. 
Lord Glossmore, 



Sir Frederick Blount. 
Stout {Political Economist). 
Graves, 



112 



ANALYSIS OF PLAYS. 



Old "Member and other Members Clara Douglas (Sib John's Ward). 



An excellent comedy for a strong company on a large stage. 
It would be quite impossible to give some of the scenes — the Club 
scene, for instance — on a small stage. The play begins with a 
most excellent scene — the reading of a will by Sharp, the lawyer. 
Graves is the executor. Georgina Yesey, Stout, Lord Glossmore, 
Sir Frederick Blount, all look for legacies, being relatives of the 
deceased, and are all disappointed, the money being left to Alfred 
Evelyn, a poor relation of Sir John's. Evelyn is much attached 
to Clara, another poor relation. Just before the will is read he 
proposes to her, but is rejected, because she will not tie him down 
to a life of abject poverty. She does not explain her reasons, 
however. When he is rich he will not ask her again ; and Sir 
John (a male managing mamma) manages to catch him for 
Georgina. After a bit it dawns on him that he has made a fool 
of himself, and he hits on a plan to find out if Georgina loves him 
for himself; or, otherwise to regain his freedom. By a series of 
misfortunes — breaking of a bank, and gambling with Smooth, 
etc. — he makes it appear that he is ruined. Sir John at once 
breaks off the match and gives Georgina to Sir Frederick, whom 
she has always preferred. Clara offers her small fortune to assist 
her cousin Evelyn, and all is explained. Graves is a capital low- 
comedy part— a melancholy widower, always lamenting his 
sainted Maria. Lady Franklin succeeds in making him laugh, 
dance, and sing, and finally propose. These scenes are admir- 
able. Sir Frederick is an r-less fop— an amusing character, and 
a fitting match for Georgina. Glossmore and Stout are politicians 
on opposite sides ; Dudley Smooth a professional gambler ; Sir 
John Yesey is a professional humbug : he has a great deal to do. 
The scenery of this play is easy, except Act IY. Scene II,, where 
the door, c, should open and disclose a dining-room beyond: but 
this is not necessary, and if inconvenient can be altered. The 
Tradesman scene is frequently omitted. This play requires much 
rehearsal, especially the Club scene, which is most effective when 
it goes well. Evelyn and Clara have very arduous parts, espec- 
ially the former, who has been made sarcastic and bitter by cir- 
cumstances, but is tender and generous by nature. 



op Club. 
Servants. 

Captain Dudley Smooth. 

Sharp [a Lawyer). 
Toke (Evelyn's Servant). 
MacFtnch {a Tradesman : sometimes 



Lady Franklin (Sir John's Half- 
Sister) . 

Georgina Yesey (Shi John's Daugh- 
ter). 



omitted). 



Costumes, Modern. 



ANALYSIS OF PLAYS. 



113 



MONEY MAKES THE MAN. 

A Drawing-Boom Drama in One Act, by Arthur 
Sketchley. 

Time in representation, thirty minutes. Scene, drawing-room at Colonel 
Culpepper's. 

characters. 

Colonel Culpepper. Mrs. Culpepper. 

Frank Dawson. Lucy Maitland. 

Charles Kettering. Mary Culpepper. 

Me, Oglethorpe. 

Costumes, Modern. 

A drawing-room drama in one act. Easy and very suitable for 
amateur acting. Colonel Culpepper, an irritable old martinet, 
thinks there is nothing like money, and tries to force his daugh- 
ter May into a marriage with an aged Croesus, who, after all, 
does not want her. She loves Frank Dawson, a poor young fel- 
low, and refuses to give him up. It turns out that the old Croesus 
has come to England to find somebody's heir — and this heir turn- 
ing out to be the fortunate Frank — everybody is happy, including 
the two minor characters. 



MONSIEUR PIERRE. 
A Pathetic Drama in Three Acts. 

Time in representation, forty -five minutes. Scene, The garden in front of 
Mrs. Barker's villa. 

characters 

Monsieur Pierre. Mrs. Barker (his Mother). Stephanie (her M aid), 
Algernon. ' Mary. 

COSTUMES. 

Monsieur Pierre should be dressed in very old clothes, and should wear 
a heavy mustache, slightly grey, which may easily be managed with the aid 
of a little flour. The other characters may wear ordinary morning cos- 
tume, though Mrs. Barker may be a trifle outre in her dress, and Stephanie 
will find that a small sMff curl oa each cheek-bone will give her a very 
Frenchified appearance. 

Dramatic and pathetic. Monsieur Pierre is an unfortunate old 
French baron, expatriated and impoverished, who teaches his 
native language for a livelihood, and searches meanwhile for his 
long-lost daughter. Algernon is a smart and naughty boy, and 
his mother, Mrs. Barker, contrives to make herself very ridiculous 
by her use of the French tongue. Mary is the long-lost daughter, 



114 



ANALYSIS OF PLATS. 



After three pathetic scenes, in which the old man, roused by 
Mary's resemblance to her mother, recounts his misfortunes, it 
turns out that, while he believed himself a beggar, his lands 
were restored to him, aud a fortune left to his daughter, who 
gladly comes to his arms. Of course the interest all centres in 
Monsieur Pierre, who must be a good actor. 



MOKE BLUNDERS THAN ONE.*, 



A Farce m One Act, by Thomas G-. Eodwell. 

Time in representation, forty-Jive minutes. 

Scene I. — Handsome, chamber. 
Scene II. — Room at Young Melbourne's. 
Scene III. — Chamber in third grooves (Louisa's). 
Scene IV. — $ ime as Scene II. 

Scene V. — Young- Melbourne's apartment, third grooves. Easy chair 
on B.C. 

CHAEACTEES 

Old Melbourne. Louisa Lovemobe. 

Young Melbourne. Susan. 
Trap. Letty. 
Larry 

COSTUMES. 

Old Melbourne. — Blue coat, brass buttons ; buff vest ; nankeen breeches 
and short gaiters ; white silk stockings ; white cravat ; bald head ; broad- 
brimmed white hat, turned up with green. 

Young Melbourne. — Modern walking dress. 

Trap. — Black great coat and pantaloons. 

Larry. — Black pantaloons, striped vest, light green body livery coat. 
Louisa.. — Handsome silk dress. 
Susan. — Colored muslin and small cap. 
Letty. — Same as Susan. 

Larry Roolagan is the leading character in this farce, which is 
a very amusing one. He manages by his blunders to set every- 
thing" and everybody by the ears. In true Irish fashion, he makes 
love to all the women, drinks all the whiskey, and tells all the 
bouncers he can conveniently, and it is only after the mischief is 
at its worst that Nemesis overtakes him, and matters are straight- 
ened out. 



> 



ANALYSIS OF PLATS. 



115 



THE MOTHEE AND CHILD ARE DOING "WELL ; 

OK, LOYE IX THE TROPICS.* 
A Farce in One Act, by J. M. Morton. 

Time in representation, one hour. Scene, A pavilion, partaking, both in its 
architecture and furniture, of a tropical character. 

CHARACTERS. 
Mr. Snugsby (a Planter). A Negress. 

Lieut. O'Scupper, R.N. [his Nephew). Miss Penelope Snugsby {Ward to 
Mr. Felix Fluffey. Snugsby). 
Maxwell. Emily Ward to Snugsby). 

Mungo [Servant to Snugsby). ^ 

COSTUMES. 

Mr. Snugsby. — Nankeen trousers, frock coat and white waistcoat. 
Lieut. O'Scupper, R.N. — Lieutenant's modern uniform, white trousers, 
cap, &c. 

Mr. Felix Fluffey.— Light brown N wmarket cut coat, blue velvet 
waistcoat. 

Maxwell. — Pink striped trousers, blue stockings, black hat, narrow rim. 

Mungo. — Nankeen trousers and frock. 

A Negress. — Negress dress cap and large red cloak. 

Miss Penelope Snugsby. — Light flowered muslin dress, cap, and large fan. 
Emily. — All white, black veil, and fan. 

The scene of this popular farce is laid in the tropics. It abounds 
in ridiculous situations and absurd mistakes. Mr. Fluffey has 
come all the way from England to marry Emily, ward to a 
planter named Snugsby. Her affections, however, are already 
bestowed on Lieut. O'Scupper, his nephew. Many playgoers are 
fond of the traditional stage Irishman, and here is a very good 
one. Miss Penelope Snugsby is also a very good stage spinster, 
and makes much of the fun. Maxwell is ostensibly the agent, 
but really the son, of the planter. He is also a happy husband 
and recent father, but has been compelled by circumstances to 
keep his marriage a profound secret. Each night a n egress has 
brought his little son to his room in the pavilion. Snugsby sends 
Maxwell away on business, and puts Mr. Fluffey, who arrives 
unexpectedly, in his lodging for the time being. Poor Fluffey is 
here beseiged, first by the baby, which is left in his charge ; then 
by Miss Penelope, who conies to beseech him to resign Emily's 
hand ; then by Maxwell, who has returned to see his baby ; then 
by Emily, who comes on the same errand as Miss Penelope ; 
then by O'Scupper, who comes to blow his brains out ; then by 
Snugsby, who comes to tell him the secret about his son. As 
each character appears the others hide themselves in adjacent 
rooms, and Fluffey gets beside himself trying to make out what it 
all means. This is a most laughable and capital scene. At this 
point the knot is cut by Maxwell, who declares his marriage. 
Snugsby then acknowleges him as his son, and O'Scupper takes 
Emily. This is what is called a screaming farce. 



116 



ANALYSIS OF PLAYS. 



"M. P." (MEMBER OF PAKLIAMENT. )* 

A Comedy in Four Acts, by T. W. Bobertson. 

Time in representation, two hours and twenty minutes. 

Scenes. — Act I. Lavm and gardens of an oil English country house. Sunlight. 
Act II. The same. Moonlight. Act III. A library. Act IV. Interior 
of a Tavern. 

CHARACTERS. 



d unscombe dunscombe. 
Chudleigh Dunscombe. 
Talbot Piers. 



Isaac Skoome. 
Mb. Bran. 
Mr. Bray. 



Mrs. Mulhowther. 
Cecilia Dunscombe. 
Ruth Deybrooke. 



Costumes, English, of the present time. 

This is a good comedy, in Mr. Bobertson's usual agreeable 
style. Dunscombe Dunscombe, the " fine old English gentle- 
man/' is an excellent character part. His son, Chudleigh, has a 
fancy for the burlesque stage, and resigns the hand of his 
wealthy cousin in favor of Mr. Talbot Piers, who is a candidate 
for M.P., opposed to Mr. Skoome, a sort of Gradgrind and a rich 
manufacturer. When Chudleigh sees Ruth, he is smitten by her 
simple charms. The love passages in the piece are very pretty. 
After some misadventures, Mr. Piers is triumphantly elected. 
The three pothouse politicians make a great deal of fun. 



MES. SAEAH GAMP'S TEA AND TUKN OUT. 

A Bozzian Sketch in One Act, by Benjamin "Webster. 

Time in representation, fifty minutes. 
Scene I. — Sweedlepipe's shop. Scene II. — A room at Betsy Prigg's. 

characters. 

Mr. Magnus Muef (a Chandler, with a heart as soft as his own tallow). 

Charley Muff (a young man addicted, to girls and gambling). 

Patrick Moriarty (a" Mimber" of Conciliation Hall, with no desire for the 

" Repeal of t'<e Union.") 
Sweedlepipe. 

Mrs. Sarah Gamp (Bozzy and Muzzy, with "Lights of Other Days," and a 
moral ball id 1 . 

Mrs. Betsy Prigg (Maternal and Matrimonial). 

Selina Gamp {a " Pet of the Ballet," m th^ front line). 

Mrs. Moriarty (ayoung and blushing Bride, with rambling reminiscences). 

COSTUMES. 

Mr. Magnus Muff.— Light brown coat, white waistcoat, light grey 
trousers, black hat and cane. 
Charley Muff. — Black coat and trousers, light waistcoat. 



ANALYSIS OF PLAYS. 



117 



Patrick Moriarty. — Striped pantaloons, blue ; light bine and red waist- 
coat ; brown coat. ' 

Mrs. Sakah Gamp. — Dark bine and white spotted gown, large fancy shawl, 
black bonnet, white handkerchief. Second dress : All white, widow's cap, 
very large ; pink shoes, black stockings. 

Mrs. Betsy Prigg.— Fancy flowered gown, cap, white handkerchief, white 
stockings, black shoes, white apron. 

Seltna Gamp.— Walking dress, bonnet and shawl. Second dress: M«rts»i.n 
dress and wreath. 

Mrs. Moriarty.— "White muslin dress. 

This farce combines a few of the sayings and doings of the 
celebrated Mrs. Gamp, already well known to most of our 
readers. With quick acting and a good deal of comic business it 
will go off well. 



MY AWFUL BAD.* 
A Comedy in Three Acts, by Chas. Mathews. 

Time in representation, two hours. 
Scenes. — Acts I. and II. — A lawyer's office. Act III. — A handsome parlor . 
CHARACTERS. 

Adonis Evergreen (My Awful Dad). Cruets [a Waiter). 

Richard (his Son). Mr. Groaner. 

Baron Katchberg. Mrs Wedagain. 

Lovekin. Mrs. Blbs. 

FrBS ) Emma. 
DrBS [ (Richard's Clerks). Charlotte. 
Tlbs ) EvanGeline. 

Mrs. Groaner. 



COSTUMES. 

Mr. and Mrs. Groaner. — Qnakers' dress, all the others dress, of the pres- 
ent day. 

Mr. Wallack make a great success in the title role of this enter- 
taining comedy. Mr. Adonis Evergreen, " My Awful Dad, " is a 
festive youth of forty-nine, who has never outgrown his boyhood, 
and who, reversing the usual order of nature, is a grievous thorn 
in the side of that serious and sedate barrister, his son. Adonis 
spending his time and money in the pursuit of youthful follies, 
and is, withal, such a genial fellow that, while everybody disap- 
proves of him, nobody can quite help liking him. He makes free 
with his son's office, sends his clerks on errands, dresses up in a 
Punch's costume, and rehearses with Mrs. Bibs, the landlady, 
and winds up by putting on his son's gown and interviewing Mrs. 
"Wedagain, a widow, who wants to contest her husband's will. 
If she marries a man over forty-five she is to retain possession of 
his entire property, and otherwise she loses it. Mr. Evergreen 
here finds and embraces his opportunity. Richard has become 



118 



ANALYSIS OF PLATS. 



engage^ meantime to Emma Lovekin, and goes down to the sea- 
shore to visit her. Mrs. Wedagain, who is Lovekin's sister, is 
there also. But not even under such circumstances can he be at 
peace. He never knows what his Awful Dad is going to do next. 
The aged youth comes, flirts with two young women, quarrels 
with Baron Katchberg, rights with him, draws Richard into it, 
and divers other scrapes, and matters are only settled by his con- 
fessing to Mr. Wedagain, to whom he offers his fresh affections 
after solemnly promising to reform. Her acceptance ends the 
play. 



MY FEIEND IN THE STB APS. * 
A Farce in One Act, by Charles Selby. 

Time in representation, about forty-five minutes. Scene. — A room, elegantly 
furnished, opening on a garden. 

CHARACTERS. 

Mr. Nupkins. O'Blarney. 
Major Capsicum. Grumpy. 
Frederick. Caroline. 

Mrs. Capsicum. 

COSTUMES. 

Mr. Nupkins. — Drab trousers, blue coat, white waistcoat, powdered hair. 

Major Capsicum. — Black coat, white waistcoat, black trousers, short gray 
hair, and very large gray whiskers and mustaches. 

Frederick. — First dress: Morning frock, dark trousers and plaid waist- 
coat. Second dres* : Lavender trousers, black dress coat, white waistcoat. 

O'Blarney. — Very short paletot, large pattern plaid trousers, fancy waist- 
coat, with a border; blue cravat, white hat. 

Grumpy. — Drab breeches, white stockings, and high lows, colored waist- 
coat, long blue coachman's frock coat, long sandy hair, fur cap. 

Caroline. — Modern evening dress. 

Mrs. Capsicum. — Green silk evening dress, French cap, with a large quan- 
tity of artificial flowers. 

A good and extremely fanny part for a low comedian in this 
piece. Major Capsicum, a peppery gentleman, very jealous of 
his wife. JSTupkins wishes to marry his nephew Frederick to his 
ward Caroline, and sends for him to come and pay his addresses. 
But poor Frederick cannot get rid of his Irish friend O'Blarney, 
who comes and passes himself off for Frederick's tiger. In this 
capacity he behaves in the most absurd manner, and manages to 
carry Caroline off from under Frederick's very nose. There 
is plenty of excellent and laughable business. O'Blarney must 
be a good actor. 



ANALYSIS OF PLAYS. 



119 



MY PKECXOTJS BETSY. 
A Farce in One Act, by J. Maddison Morton. 

Time in representation, fifty-five minutes. Scene. — A room, showing a shop 
behind. 

CHARACTERS. 

Mrs. Bobtail. 
Mrs. Wagtail. 
Nancy Muddle. 
Nurse. 

COSTUMES 

Bobtail. — Chocolate short frock coat, velvet collar; white waistcoat, gilt 
buttons; light blue trousers with black stripes, light cloth boots, black wig, 
very high at the top; white apron and sleeves, white flowered silk tie. 

Wagtail. — Newmarket-cut green coat, gilt buttons; red and white plaid 
trousers, fancy striped waistcoat, white cravat, light wig, black dress boots, 
white hat. 

Langford. — Black frock coat, silk waistcoat, and gray trousers. 
Shopman. — Plain dress, apron and sleeves. 

Mrs. Bobtail. — Morning dress, green silk apron, lace cap with flowers, 
blue silk tie, lace collar. 

Mrs. Wagtail. — Mousseline-de-laine flowered dress, green silk mantilla, 
trimmed with black lace ; green velvet bonnet with white flowers. 

Nancy Muddle. — Blue spotted gown, high canvas apron, large cap, red 
wig, blue stockings, boots. 

This is an exceedingly ludicrous farce; most amusing complica- 
tions ensne, which cause much laughter. It requires two good 
low comedians, and has excellent p#rts for a chambermaid, an 
old woman and a comedienne. 



Mr. Bobtail. 
Mr. Wagtail. 
Mr. Langford. 
Shopman. 



MY TURN NEXT* 
A Farce, by T. J. Williams. 

Time in representation, forty-five minutes. Period, the present. Scene, 
Parlor behind an apothecary's shop. 

CHARACTERS. 

Taraxacum Twitters {an Apothecary). Lydia (Twitter's Wife), 
Tim Bolus {his Assistant). Cicely (her Niece). 

Tom Trap {a Commercial Traveler). Peggy {Maidservant). 

Farmer Wheatear. 

Twitters is a man who suffers from nerves. He has just mar- 
ried a widow, whose husband has passed under the names of 
Brown, Green, "White, and Black, Twitters imagines them to 
have been four different persons, and has reason to believe his 



120 



ANALYSIS OF PLAYS. 



wife has poisoned them all. He thinks it will be " My turn 
next," and is, of course, in a state of twitter— afraid to eat, 
drink, or speak almost. There is a dinner on the stage, and a 
good many properties are required, otherwise it is a very easy 
farce to get up. 



MY UNCLE'S WILL.* 
A Comedietta in One Act, by S. Theyre Smith. 

Time in representation, about forty minutes. Period, the present. 

Scene, A sitting-room ; at back a large window opens on to a balcony ; the 
sea beyond. Moonlight. 

CHARACTERS. 

Chaeles Cashmore. Ma. Barker. Florence Marigold. 

Costumes, Modern. 

An excellent piece for amateurs; by the author of ( i Happy 
Pair/' played by Mr. Montague and Miss Eose Coghlan. There 
are hardly any properties, and no difficulties about the scene ; for 
the balcony, the sea, and the moonlight may all be left out, 
though of course they are very pretty accessories. The Uncle's 
"Will leaves 50,0001." to Charles and Florence if they marry ; if 
one declines, it goes to the other ; if both refuse, Barker comes in 
for the money. Before knowing the provisions of the "Will, the 
young people were much attached ; after, they think they hate 
each other — a state of mind Barker encourages. At last they 
mutually renounce each other, and at once feel the old love 
return, and Barker is left lamenting. The dialogue is bright and 
sparkling, and the play is one of that class peculiarly suited to 
amateurs, where they even run professionals hard— in fact, would 
beat them easily, except first-class ones. Nothing would be 
more repulsive than a part like Florence's in the hands of a 
second-rate actress. 



MY WIFE'S SECOND FLOOR. 
A Farce in One Act, by J. Maddison Morton. 

Time in representation, forty-five minutes. Period, the present. Scene, a 
lodging-house drawing room. 

CHARACTERS. 

Captain Topheavy (R. TV.) Tim {a Porter). 

Mr. Felix Toddle {an Artist). Mes. Topheavy. 



ANALYSIS OP PLAYS. 



121 



Jacob Close [a Servant). Fanny Maylove. 

Mrs. Downey. 

Costumes, Modern. 

Jacob Close is a good part for a low comedian. He is the 
lodging-house servant, and is remarkable for his reticence : 
'•Mums the word." Fanny is engaged to Felix, and there is a 
capital scene where she and her friend, Mrs. Downey — one on 
each side of Jacob — cross-question him about the young artist's 
habits. Mrs. Topheavy has let her second floor to Felix, and 
when Captain Topheavy comes there to look for his Fanny, he 
finds the artist raving about his Fanny — Miss Maylove. Compli- 
cations arise ; Jacob could set all right with a word, but he 
won't. The other characters are just like those found in nine 
farces out of ten ; and there are the usual band-boxes, umbrellas, 
and portmanteaus required. 



NINE POINTS OF THE LAW. 

A Comedietta in One Act, by Tom Taylor. 

Time in representation, one hour and twenty-five minutes. Period, 1849. 
Scene. — A morning room, ivith French windows. 
CHARACTERS. 



Joseph Ironside. 
Cunningame {an Attorney). 
Rollingstone (a Gentleman at large). 
John Britton. 



Mrs. Smyeie (a Widow). 
Katie Maple son (her Niece). 
Sarah Jane [Charity School-girl). 



COSTUMES. 

Ironside. — Dark body coat, drab waistcoat, black trousers, broad-brimmed 
hat. 

Cunningame. — Old-fashioned black body-coat, black waistcoat, grey 
trousers, low-crowned hat. 

Rollingstone. — Blue jacket, fancy woolen shirt, extravagant plaid 
trousers, and scarf round waist, Russia boots, straw hat. 

John Britton. — Plain morning walking dress. 

Mrs. Smylie. — Neat grey silk morning dress and cap, black silk mantilla. 
Katie. — Neat white morning dress. 

Sarah Jane. — Blue frock, white apron, with bib, blue stockings, and 
white cap — complete charity school-girl's dress. 

A first-class play for amateurs ; interesting, amusing, and not 
hackneyed. Scenery and costumes easy. ~No properties except 
some lawyers' deeds. Mrs. Smylie is a capital character ; but all 
have good characters except Sarah Jane, who has chiefly to bob 
and say, " Please m'm, yes/' John and Katie are young lovers, 
but not too sentimental ; they have some very amusing bits. 



122 



ANALYSIS OF PLAYS. 



Cimningame is a rather unpleasant attorney, and Eollingstone a 
man who has been everywhere. He is devoted to Mrs. Smylie 
when he thinks she is rieh^ bnt cools down when he finds that 
fact is doubtful, as there is a dispute about the ownership of 

Fairfield Cottage, of which Mrs. Smylie is in possession— nine 
points of the law^ The other claimant is Ironside, a cotton- 
spinner from Eochdale. This part should be played with a 
North-country accent. Mrs. Smylie will not go to law, but uses 
her own weapons, and by her woman's wit gains the cottage and 
Ironside's heart as well. The play abounds in good situations. 
Katie may introduce a song, but it can be omitted if the lady 
who plays the part does not sing. Eollingstone may be made a 
good character part, as well as Ironside. 



NO SONG, NO SUPPEB. 

A Musical Entertainment, by Prince Hoare. 

Music by Storace. 

Time in performance, one hour. Period, 1790. 

Scene I. — A view of the pea, Cornish coast. Scene II. — A roo"~i in the Miller's 
house. Scene III. — Outside of his house. Scene IV. — A wood 
Scene V. — Same as Scene II. 

CHARACTERS. 

Frederick, ) „ v Dorothy (Crop's Wife). 

Robin, } manors. Louisa (his Daughter). 

Endless 'a Lawyer). Nelly (his Servant), 

Crop (a Miller). Margaretta. 
Thomas (Endless' Servant). 

Costumes. — Latter part of the 18th Century. 

The chief difficulty about this little operetta is the constant 
change of scene. The characters are all well marked and easily 
assumed. Crop and his wife have the well-known scene about 
shutting the door. While Crop is cut of the way Dorothy gives 
Endless an excellent supper. Crop returns suddenly, the supper 
is hidden in the cupboard, and Endless in an empty flour-sack, 
and Margaretta betrays these arrangements in her song (which 
gives the piece its name), u Across the downs this morning." 
She also sings ""With lowly suit and plaintive ditty," and some 
other pretty old songs. Eobin, Crop, and Dorothy also have 
songs. Louisa and Frederick are a walking lady and gentleman. 
ZtsTelly, a low-comedy servant. She can put a good deal of busi- 
ness into the supper scene. 



ANALYSIS OF PLAYS. 



123 



NOT FALSE BUT FICKLE. 
A Comedy Drama in One Act, by Mrs. Augustus Bright. 

Time in representation, thirty minutes. Scene. — A sitting-room. Time the 
present. 

CHARACTERS. 

Sir George Crossley (a Wealthy Baronet). Sutton {her Maid). 

Mrs. Gerard (a Widow). Mrs. Travers (a Widow). 

Costume, Modern. 

A short piece, and good for amateurs who want a combination 
of sentiment and humor. Mrs. Gerard, a widow, who refuses to 
be comforted, travels about from place to place in search of con- 
tentment, but in vain. She comes unexpectedly upon an old 
school friend — Mrs. Travers, a widow also, but very willing to be 
comforted. She has recently become engaged to Sir George 
Crossley, who accompanies her. £To sooner do Mrs. Gerard and 
Sir George meet than they recognize in each other the u old, old 
love " of their youth. [Neither knew that the other was free. In 
the first excitement of meeting Sir George forgets all about Mrs. 
Travers, and finds himself making love to his old sweetheart, who 
feels that she has not forgotten him. When she learns the truth 
about his engagement, she declines to secure her own happiness 
at the cost of another's suffering ; but Mrs. Travers, who has 
overheard part of their conversation, makes up her mind to give 
him up, which she does, and the two long separated ones are 
happy. There is a good lady's maid part. 



NUKSEY CHICKWEED. 
A Farce in One Act, by T. J. Williams. 

Time in representation, about three-quarters oj an hour. Period, the present. 
Scene, — Interior of cottage ; large fire-place xoiihfire. 
CHARACTERS. 

Jonathan Chick-weed {Town-crier) Mr. Horatio Mountsorrel. 

Barnes (a MiLerj. Mrs. Mountsorrel. 

Mr. Walton. Nelly (her Daughter, agsd 14). 

Costumes, Modern. 

The success of this piece depends greatly on Felly ; it is a cap- 
ital part for a sharp child, or for a young lady who does not object 
to appearing in boy's clothes ; in the latter part of the farce she 
is dressed as Joey, Mr. Walton's ward. Fursey Chickweed has 
taken these two children as infants — their respective parents re- 



124 



ANALYSIS OF PLAYS. 



siding in distant lands. Mrs. Chickweed elopes, and Chickweed 
bring up the two children according to his own ideas. Mr. and 
Mrs. Mountsorrel (very prim and precise people) appear un- 
expectedly to claim their daughter and find her feeding the tur- 
keys, skimming the sauce-pot, looking after the pigs, etc., not to 
mention that she is covered with mud from an encounter with 
the butcher's boy. It is a part very like Nan's in " Good-for- 
nothing/' Joey is lent to make hay in exchange for a donkey. 
So when Mr. Walton comes to see his ward, Nelly is dressed up 
to represent him. Chickweed and Barnes appear simultaneously, 
E. and L., dressed as Mrs. Chickweed— false curls, large white 
cap and frills, cotton gown, etc. — the same idea having occurred 
to each simultaneously. These two are low comedians, the other 
two walking gentlemen. A very easy farce j one of the best ; 
laughable, and not vulgar. 



OH, MY UNCLE!* 
A Comedietta in One Act. 

Time in representation, twenty-Jive minutes. Scene. — A room in an hotel at 

Havre. 

CHARACTERS 

PASTOREL. MaRIUS CaBASSOL. 

Costumes, Modern. 

This is a play for two male characters. Cabassol, having ex- 
posed his selfishness and meanness to Pastorel, discovers that he 
is his long-lost uncle, who has returned to his native land and his 
heir with a fortune, which of course he does not get. 



THE OLD STORY. 

A Comedy in Two Acts, by H. J. Byron. 

Time in representation, one hcur and fifteen minutes. Period, the present. 
Scene. — A drawing-rocm; French Window {practicable) opening on to lawn. 
CHARACTERS. 

"Wayerly Brow ( Eachelor). Mrs. Minerya Deadset ( Widow), 

Thompson (from Town). Miss Snipely (Sp.ns^ei-). 

Captain Koo-too ( Unattached). Miss Cricks tt ( Spinster). 

K. N. Jone3 (Poet). Lucy Brown (Brown's NiecQ 

"Wilkinson (Servant). Fritters (her Maid), 



\ 



ANALYSIS OF PLATS. 125 

Action of the piece extends over six weeks. 
Costumes, Modern. 
The old story is explained by these lines : 

" Wealthy, a man may count on hosts of friends ; 
When poor, 'tis strange how soon some friendship ends." 

Waverly Brown is a rich old bachelor, surrounded by syco- 
phants — the three ladies each trying to marry him, while Koo-too 
and Jones devote themselves to Lucy. She writes to summon 
Thompson to her aid. He suggests that Brown shall pretend to 
lose his fortune, which he does, and speedily gets rid of most of 
his admirers ; but Mrs. Deadset has overheard the plot and is not 
to be shaken off. Six weeks later he really does lose his money, 
and Mrs. Deadset has a very good scene. This is an " all-round" 
play, and is well suited to a company in which there is no bright 
particular star. Lucy is an attractive girl just home from school, 
with whom Thompson falls in love ; Fritters, the usual pert maid, 
adored by Wilkinson. The other ladies are all " of a certain age." 
Waverly is a vacillating old man, and should be the reverse of 
imposing in appearance. The dialogue is witty, and the play is 
easy to get up. 



ON AN ISLAND. 

A Dramatic Sketch m Water Color, itf One Act, ry J. 
W. Jones. 

Time in representation, thirty minute*. Time, autumn. Scene, an island, 
trees r. and l., and at back. Water seen throughthe trees at back. 

CHARACTERS. 

JackCaklton {Barrister at Law). Miley Garland, (o/Curzon Street, May fair) 

Costumes, Modern. 

MissMilly Garland and Mr. Jack Carlyon, a pair of once fond, but 
now estranged lovers, are unfortunately left on an island by their 
picnic party To add to the unpleasantness of the predicament, 
there is every prospect of their being detained until morning. 
Under these circumstances they are. obliged to speak to each 
other. After some recriminations they begin .to recall old times, 
to admit the absurdity of the quarrel which parted them, and 
after a good deal of amusing fencing, they conclude to "kiss 
and be friends." 

An entertaining little piece with good parts for two sprightly 
actors, who have it all to themselves. 



126 



ANALYSIS OF PLAYS. 



ONE MUST MAKKY.* 



A Comedy in One Act. 



'Time in representation, one hour. Scene, a library. 



CHARACTERS. 



Jacob Zobn (Elder Brother). 
William Zorn l Younger Brother) 



(Professors in a University). 



Gertrude (Their Aunt). 
Louisa (Her Niece.) 



COSTUMES. 



Jacob. — First dress, old-fashioned dress, cap. Second dress, black dress 
suit, white cravat. 
William. — Black frock coat, flowered vest, black pants. 
Gertrude. — Grey silk dress, cap. 
Louisa.— Fashionable black silk, etc. 

A comedy from the German in one act. Tery amusing and 
just the thing for private theatricals— all the characters are good. 
Two book- worms, Jacob and William Zorn, who have eyes for 
nothing but their studies, are informed by their old aunt, a spicy 
and sharp-set old lady, that one of them must marry. Louisa is the 
candidate. The brothers, horrified by the prospect of matrimony, 
try each to persuade the other that he is the fittest man. Unable 
to decide they cast lots. Jacob draws the unlucky paper, and 
his -despair is comical. Finally William takes pity on him, con- 
ceals him behind a screen that he may show him how to make 
love to Louisa in proper style. This is a very good scene. 
Louisa, who has an inclination for "William, receives his advances 
in such a way that soon what has been a pretense becomes a 
reality, and he begins to court in good earnest, while Jacob, from 
his hiding-place, is so much pleased that he longs for William to 
leave off that he may begin. William, however, declines to 
relinquish the prize, and poor Jacob has to accept the situation. 



A Comedietta in One Act, by J. P. Wooler. 

Time in representation, three-quarters cf an hour. Period, the present. Scene, 



orange blossoms.* 



a garden. 



CHARACTERS. 



Colonel Clarence. 
Isabella Clarence (his Wife). 
Mr. Clarence Hope. 



Violet Hope (his Wife). 
Mr. Septimus Symmetry. 
Louisa. 



Costumes, Modern. 



ANALYSIS OF PLAYS. 



127 



A remarkably easy play for amateurs. Symmetry is a good 
light comedian's part— a gentleman who has a horror of matri- 
mony, notwithstanding which the play ends in orange blossoms. 
Little Loo, the victor, is a bright, lively part for a lady come- 
dian. Clarence and Hope become very jealous of their respective 
wives, Symmetry egging them on in order to get rid of them, the 
society of married men and of ladies being equally objectionable 
to him. Eo properties wanted but a red and white rose, a packet 
of letters and a couple of pistols. 



THE OKXGINAL.* 
An Interlude in one Act, by J. M. Morton. 

Time in representation, forty-five minutes. 

Scene.— A breakfast-room at Col. Detonator's and a room at Sir Jacob 
Lukewakm's. 

CHARACTERS. 

Colonel Detonator. Jack Nonpareil. 

Sir Jacob Lukewarm. Solomon. 

Charles Mowbray. Servant. 

Emily Lukewarm. 

COSTUMES. 

Colonel Detonator. — Blue coat and white trousers. 

Sir Jacob Lukewarm. — Brown coat, nankeen breeches and gaiters, 

Charles Mowbray. — Fashionable suit. 

Jack Nonpareil.— Fashionable suit. 

Solomon.— Plain suit. 

Servant. — Livery. 

Emily .lukewarm.— Elegant walking dress. 

A very good piece and very funny if well played. Colonel De- 
tonator, an irascible old gentleman, "who thinks himself the 
calmest and most patient of men, becomes violently angry with 
his nephew, Charies, for falling in love with Miss Emily Luke- 
warm without his consent. He accordingly proceeds, in. a rage, 
to the house of Sir Jacob Lukewarm. Meantime Charles and his 
friend, Jack ISTonpariel, put their heads together, and, by a series 
of amusing devices, secure the written consent of t>oth the Colonel 
and Sir Jacob to the marriage. 



128 



ANALYSIS OF PLAYS. 



OUR BITTEREST FOE. 

A Drama in One Act, by G. 0. Herbert. 

Time in performance, about ha' j an hour. Period, 1^70. 

Scene, an oik room; secret door in pawl; window, [practicable], moon 
shining through; picture of a Marshal of the Empire. 

CHARACTERS. 

General, von Rosenberg (a Prussian). Henri de la Fere (an Officer in the 
Blanche d'Ervan {Henri's Cousin). French army.) 

COSTUMES. 

French. Peasant dress and Prussian uniform for the men, and modern 
dress for the woman. 

This is the shortest and one of the prettiest plays I know. All 
the parts arc good. The plot is interesting. It is laid at the 
time of the Franco-Prussian war. Henri arrives at his own 
house in disguise. His intention is to secure some papers and 
valuables and to escape to England, where Blanche will join 
him. They are arranging this, and Henri is going to escape 
through the secret passage, when the General appears in it. He 
affects to believe Blanche's lame story that tnis is her foster- 
brother, Pierre Lenoir. Blanche had saved von Rosenberg's life, 
besides which he loves her; so he offers Pierre a pass tnrough 
the German lines on condition that Blanche will give him her 
hand. He believes Henri to be frivolous and dissipated, and he 
speaks to him with a quiet scorn that maddens the Frenchman. 
He tears the pass to pieces, declares who he is, and denounces 
von Rosenberg and all his nation, choosing to be shot for a spy 
rather than accept life on such terms. Yon Rosenberg behaves 
generously. Seeing that his enemy is no coward, and is really 
worthy of Blanche, he signs a pass for Henri de la Fere and his 
wife. The two men are a good contrast — the one so fiery, the 
other so cold, at least outwardly. Blanche has a very pretty, 
pathetic part. The only difficulties are the window and the 
sliding-panel door. 



OTJB BOYS. 
A Comedy in Three Acts, by H. J. Byron. 

Time in representation, about two hours. Period, the present. 

Scene I. — Drawing-room; French windows, c, garden baclcing. 
Scene II. — Drawing-room; conservatory beyond. 
Scene III. — Third floor at a London lodging-house. 

A period of seven months elapses between Acts II. and III. 



ANALYSIS OF PLAYS. 



129 



CHARACTERS. 

Sir Geoffrey Chamfneys (a County Ejempster /Sir Geoffrey's Servant). 

Magnate). Poddles fMrrmLEWiCK's Butler). 

Talbot Champneys (his Son). Violet Melrose (an Heiress). 

Pekkyn Mzddlewick (a retired But- Mary Melrose ( her poor Cousin) . 

terman). Clarissa Champneys /Sir Geof- 

Charles jVJ tpdlewick (Ms Sofi). erey's Sister). 

Belinda (a lodging-house Slave*) 

Costumes, Modern. 

The enormous rim of this play ( considerably over a thousand 
nights) renders it useless to describe it, the inference being tha..* 
almost every man, woman and child has already seen it, and 
laughed over Mr. James Lewis' personation of the Eutterman. 
There are no difficulties about the play, except to find a worthy 
butterman. He and " Old Poker-back," as he calls his neigh- 
bor. Sir Geoffrey, are equally wrapped up in their " boys/' and 
delighted to welcome theufaftcr a three^ years 7 sojourn on the 
Continent. The Baronet — proud and poor — has decided that his 
son is to marry Yiolet Melrose, an heiress ; but that young lady 
and Charles Middlewick have already met at Yienna and decided 
differently. Old Middlewick has taken a great dislike to Yiolet, 
whom he considers "Stuck-up," and he desires his son to wed 
Mary. Talbot, however, finds this free-and-easy young lady 
suits his taste; so fathers and sons fall out, and the latter retire 
in disgrace to some miserable London lodgings, where they try 
to earn an independence. The fathers, alter a few months, 
become so profoundly miserable without their boys that they 
follow them, and find out from Belinda, the " slavey, that they 
are at the point of starving. Miss Champneys also arrives with 
a chicken and other delicacies, and Yiolet and Mary come to dis- 
cover if their lovers are still faithful. After a few more misun- 
derstandings the boys are forgiven and taken back into favor. 
Of the two young men, Charles should be tall and aristocratic 
looking, while Talbot is described as being a washed-out youth, 
with a limp look generally, and a namby-pamby manner- In 
adversity he turns out an uncommonly good fellow. His 
"spooney" scenes with Mary are very good. Yiolet is not a 
very interesting character but it could probably be made more 
of by an amateur actress used to society, than it was on the ; 
stage. Belinda, the slaVey, though a slight part, is an effective ' 
one: and Miss Champneys, an elderly spinster, good-hearted, . 
but with very transparent designs on the butterman 7 s hand, and 
heart, is an amusing character. Sir Geoffrey, the other 
Eoman father, proud, stiff, narrow-minded, but soft-hearted to 
his boy, is an excellent study from nature and requires a good 
actor. The servants have only a few words each. There are few 
plays of this length with more simple scenery, or that require so 
iittle trouble in arranging and managing. The chief reason for 
not getting up this piece is that it is so very well known. 



130 



ANALYSIS OF PLAYS. 



OUE MAKY ANNE * 



A Farce m One Act, by J. B. Btjckstone. 



Time in representation, fifty minutes. Scene, a garden. 



CHAEACTERS. 



Colonel Albert, 
Jonathan Tunes, 
Solomon, 
Thomas. 



Ernestine. 
Mary Anne.' 
Dame Wintered. 
Peasants, male and fsmal 



COSTUMES. 



Colonel Albert.— Siding-frock, with sable collar; traveling cap; tight 
pantaloons; Hessian boots. 

Jonathan Tunes. — White old-fashioned coat, trimmed with white buttons 
and broad lappels; long red waistcoat; white knee breeches, large silver 
brickies; blue stockings; shoes and silver buckles; white lace neckcloth; 
flaxen wig; white hat and favor; white gloves. 

Solomon. — Light-blue old- fashioned coat; white double-breasted waist- 
coat; light-blue knee breeches; red stockings; black shoes and buckles; red 
wig; black hat; white favor. 

Thomas. — Brown coat, white waistcoat; blue breeches. 

Male peasants similar dresses to Thomas and Solomon. 

Ernestine. — First uress, Traveling cloak, riding hat and feather. Second 
dress, hair dressed with blue ribbons; dark jacket; striped petticoat; light 
blue stockings; shoes and buckles. 

Mary Anne. — "White muslin dress; white hat trimmed with white rib- 
bons. 

Dame Winifred.— Blue dress with black laced mantel; red petticoat; blue 
stockings; shoes and buckles. 
Female peasants in holiday dress, wearing white favors and bouquets. 

A yery good farce by Buckstone. Colonel Albert lias a small 
estate, which was left to him by old E lyei'dink, with the expressed 
wish that he should many Mary Anne when she grew np. But 
the Colonel has since been absent many years in the great world, 
and Jonathan Tunks, the steward, under the impression that he 
has forgotten all about her, takes the liberty of making loye to 
and marrying our Mary Anne himself. Hardly have the wed- 
ding bells ceased ringing before the Colonel makes an unexpected 
appearance. He has come to inspect our Mary Anne. Following 
him np comes Ernestine, a lady who wants to marry him herself. 
She personates our Mary Anne and pleases the Colonel much, 
thereby causing great perturbation and disturbance to Mary 
Anne's new husband, who does not know of the substitution. 
"When matters are thoroughly mixed up, the real Mary Anne 
is brought face to face with the Colonel and her distracted Jona- 
than. Ernestine explains and all ends well. 



ANALYSIS OP PLAYS. 



131 



OUE PBOFESSOR* 
A Monologue, ii One Act. 

Time in representation, twenty minutes. Scene, a drawing-room. 
CHARACTER. 
A Professor. 
Costume, Evening Dress. 

A monologue, the success of which depends entirely on the 
sprightliness and efficiency of the performer. The professor en- 
deavors, while instructing his audience in some of the principles 
of elocution, to edify them at the same time. 



"OUR RELATIVES." 
A Domestic Comedietta in One Act^ by W. Ellis. 

Time in representation, thirty-five minutes. Scene. — A pleasant breakfast- 
room, breakfast on the table* 

characters. 

Edward Shepherd . 

Charlie Bush, {Brother to Mrs. Shepherd), 
Post {an old Butler). 
Mrs. Shepherd (Shepherd's Wife). 
Emily Shepherd (Shepherd's Sister). 

Costumes, Modern, 

This funny little one-act piece is lively and easily gotten up, 
Mr. Shepherd is discovered listening to his wife as she scolds the 
servants without. He soliloquizes sarcastically on the hastiness 
of her temper and contrasts it with her amiability — before mar- 
riage. Mrs. Shepherd then appearing, they have a first-class 
quarrel, in which she is violent, and he cool and aggravating. 
Matters are made worse by the arrival of letters — one for each, 
which they carefully keep from each other. The letters are really 
very harmless, being simple announcements of the speedy arrival of 
. Mrs. S.'s brother, Charley Bash, and Mr. S. ; s sister, Emily. These 
parties have met on their way from America and are partially 
engaged. The Shepherds are further aroused by the affectionate 
reception accorded by each to his and her respective relative. 
Mrs. S. finds her husband embracing an unknown woman, and 
Mr. S. finds his wife in the arms of a stranger. The green-eyed 
monster is now fairly on the rampage, and is only quieted after a 
violent scene, when Charlie and Emily explain matters. The 
foolish pair, delighted to find themselves mistaken, and perceiv- 



132 



ANALYSIS OF FLAYS. 



ing that they still love each other, promise to live henceforward 
•without quarreling. The deaf old butler, Post, is a good low-com- 
edy part, and the scenery only an ordinary breakfast-room. This 
piece, properly managed, is very laughable. 



OTTB "WIFE. 

A Comic Drama m Two Acts, by J. Maddison Morton. 

Time in representation,, about an hour and a half. Period^ 1634. 
Scene I. — Inferior of a mercer* s shop, counter r,. 

Scene II. — Ante-room in the toivn-hall at Amiens; window {practicable), c 
with balcony. 

T7ie first act takes place in the morning,, the second act in the evening of the day* 

CHARACTERS. 

Mahquis de Ligny (Captain of the 1st Officer. 

King's Guard). 2d Officer. 

Count de Bbissac [his Friend). Messenger. 

Pomaret (a Mercer). Rostne (Pomaret's Daughter)* 

Dumont (Musketeer), Mariette (Pomaret's Niece). 

COSTUMES. 

King's Mnsketeers. La-dies : First dresses, Tucked-np skirts over quilted 
petticoats > Second dress, White satin or silk evening dresses. Rosine as a. 
bride. 

A very dressy and pretty play ; it is also interesting, and better 
■written than most of Maddison Morton's. The Count de Brissac 
"wishes to marry Rosine, the beauty of Amiens, but his father 
threatens old Pomaret with the Bastfle. Pomaret (low comedian) 
is frightened to death, and -will hare no more to do with 
young De Brissac, who, in despair, appeals to his friend, the Mar- 
quis de Ligny. The Marquis has got into a scrape, and Richelieu 
has given him the alternative of death in the field or on the scaf- 
fold within three days — this being the third day. Of course he 
prefers a soldier's death, and sends a challenge to the Spaniards 
who are then surrounding Amiens. Seeing his friend's despair, 
he determines to marry Rosine, just to give her his name, as the 
old Be Brissac cannot object to his son's marriage with a mar- 
chioness. He carries this plan cut. Pomaret is delighted ; so is 
Rosine, who has secretly preferred him to Be Brissac all the time. 
Be Ligny, too, finds his bride charming. However, he is going 
to fulfil his agreement with Richelieu when he receives a pardon 
from the Cardinal. He is nevertheless obliged to carry out his 
challenge to the Spaniards ; but his musketeers follow him. He 
takes the nag and returns home in triumph. Be Brissac (a good 



ANALYSIS OF PLAYS/ 



133 



character of the silly type) is so delighted at his friend's safety, 
that he forgives him for haying married "our wife,' J and contents 
himself with Mariette, the less attractive cousin. De Ligny, De 
Brissac, and Pomaret require good actors ; the other men have 
only a few words each. De Brissac has to play the violin and 
give a dancing lesson to Rosine, a young lady who should be as 
near "Perfection" as Kate O'Brien. The scenery is rather 
troublesome. In the second act a thunder storm goes cn — vio- 
lent wind and rain. The window is burst open by De Brissac 
(who is out on the balcony) with a violent crash, and all the 
lights in the candelabras, etc., go out. Stage quite dark. Peo- 
ple come in with candles, and it grows light again. Neighbors 
in holiday dress (in Act I.), and wedding- guests at the ball (in 
Act II. j are required. All this adds to the effect, but in some 
cases is difficult to manage. 



THE PALACE OF TEUTH. 
A Fairy Comedy m Three Acts, by "W. S. Gilbert.: 

Time in representation, two hours. Period, 15th century. 

Scene I. — Gardens of the King's country house. 
Scene II. — Interior of the Palace of Truth. 
Scene III. — The Avenue of Palms. Night. 

CHAKACTEKS. 

Queen Altemire. ~A 
Princess Zeolide.) 
Mirza. 
Palmis. 

AZEMA. 

Gelanor. 

Action of the piece, twelve hours. 

COSTUMES. 
Early part of tlie fifteenth century. 

This play is in blank verse, exquisitely written, and would be 
an ambitious undertaking for amateurs. King Phanor (trusting 
to a talisman) resolves to take all his court to visit his palace, 
where each one must speak the truth. His talisman, how ever, 
is stolen, so the result is hardly as pleasing to the King as he had 
expected. Of his courtiers, Chrysal, the poet, turns out to be a 
humbug ; Zorara, the musical critic, scarcely knows treble from 
bass ; and Aristaeus, the bluff and surly, is really weakly amia- 
ble. Prince Philamir, affianced to the King's daughter, Zeolide, 
appears to be more in love with himself than any one else. Mirza, 
the pattern lady, proves herself a heartless and desperate intrig- 



King Phanor. 
Prince Philamir. 
Chrysal. 
Zoram. 
Aristjsus. 



134 



ANALYSIS OF PLATS. 



uer, and nearly succeeds in separating Philaroir and Zeolide. It 

is she who has stolen the talisman, but she accidentally drops it 
and has to speak the truth about herself, which speedily opens 
the Prince's eyes, and sends him back repentant to Zeolide. 
Zeolide herself had always seemed cold to her lover ; but in the 
Palace of Truth she owns how much she loves him. Azema nas a 
rather unpleasant part, though an amusing one. Assuming a 
modesty and bashfulness quite beyond nature, she turns out to 
be a very pronounced coquette. There are few parts in any 
modern play more thoroughly comic than those of King Phanor 
and his Queen. Philarnir and Zeolide require excellent acting. 



PAKTNEES FOR LIFE * 
A Comedy in Three Acts, by Henry J. Byron. 

Time in representation, two hours and thirty minutes. 
Scene. — Acts I. and II. — A drawing-room. Act III. — A library. 

CHARACTERS. 

Me. Hoeace Mervyn {a County Gentleman). 
Tom Gilroy his Cousin). 
Muggins (his Confidential Servant). 
Ernest (his nephew}. 

Sir Archibald Dreleincourt (a Philanthropist) . 

Major Billiter (unattached). 

Goppinger (from the Colonies). 

Emily Mervyn (a young Cousin o/Mr. Mervyn). 

Eanny Smith. 

Miss Priscilla Mervyn (an Old Maid). 
Darbishire (her Maid). 

COSTUMES. 
English, of the present day. 

This play is well adapted for amateurs, though in three acts, 
it requires but two scenes. The dialogue is sprightly, and there 
is a good low comedy part. Ernest and Emily, though really at- 
tached, are always wrangling, because, under the terms of a will, 
they are obliged to marry. Mervyn, an elderly gentleman, is 
held in terror by his steward, Muggins, who knows his secrets. 
Miss Priscilla is a model of a ridiculous, good-hearted old maid ; 
Tom Gilroy, who was married early in life, after several years of 
separation, accidentally meets his wife in Mervyn' s house, where 
they become reconciled and take a fresh start as " partners for 
life." There are also two adventurers who fill in well, and the 
ladies' parts are good without being difficult* 



ANALYSIS OF PLAYS. 



*135 



PATCHES AND POWDEE; 

OR/ THE GOOD OLD TIMES.* 
A. Dramatic Proverb in a Prologue and One ActT^ 

Time in representation should be about half an hour, but it will depend upon the 
abilities of the company. 

Scene. — A handsomely furnished drawing room, with centre doors. Time, the • 
present and the past, a great deal mixed. 

CHARACTERS. 

Sir John Walshingham {aged 50 ; afterwards The Marquis de CrequiJ 
Sir Harry Hieover (25, in love with Ethel ; afterwards The Comte Blon- 

DEL). 

Gregory Mattison (27, not wholly unattached to Grace ; afterwards The 
Abbe Matthieu). 

Paul (a Groom, when asked his age, tells inquirer to " git out," supposed to be 
about 21 ; afterwards Pasquin). 

Ethel Walsingham (Sir John's Daughter, being only 17, admits it ; after- 
wards M'lle. Athalie de Crequi . 

Grace Walsingham {her Sister, hut being 18, gives herself the dignity of sen- 
iority ; afterwards M'lle. Chamte de Crequi). 

Treen (calling herself a Parlor Maid, sometimes says she is 19 ; afterwards 
Dorlsne). 

COSTUMES. 

For the Prologue — Modern. For the Proverb — Period of George II., which 
can be arranged in the following manner : The ladies' costume dresses of 
to-day are so similar to those of the time of George II,, that, with the addi- 
tion of wigs, or even powdered hair, the resemblance will be sufficiently 
near complete. As to the gentlemen, they must wear their tight-fitting 
clothes under their ordinary broad or other cloth, and then for the play, or 
Proverb, they will only have to change coat and vest, put on a jack-towel 
cravat, and powder their heads. For any further information concerning 
costume, consult a costumer. 

In this piece nearly all the characters sing. Sir John Walsing- 
ham and family, always regretting the good old times when gen- 
tlemen wore swords and ladies patches and high heeled shoes, 
are transported back to the seventeenth century by playing in a 
" Proverb, " where they come to the conclusion that their first 
state was better than their last, that railroads are to be preferred 
to coaches, etc. There is opportunity for very picturesque dress- 
ing here, and for good singing. 



136 



A PECULIAB POSITION * 
A Farce One Act, by J. R. Planche. 



Time in representation, one hour. Scene. — A large apartment in an old 
chateau near Chambery. 

CHARACTERS. 

Major Lascari. Servant. 

Champignon. Counters de Novara. 

Carlo. Madame Champignon. 

Pepito. Barbara. 

COSTUMES. 

Major Lascari. — Bine uniform, faced with red, and trimmed with gold 
lace; cocked hat with Sardinian cockade; yellow, red and white. 

Champignon. — Brown Holland trousers and gaiters; striped waistcoat; 
large traveling green coat, with several capes; foreign foraging cap. 

Carlo. — Blue coat, faced with red; white trousers and gaiters; blue cloth 
undress cap, with yellow tassel; cross belts and side-arms. 

Pepito.— Brown jacket and trousers; blue waistcoat; black neckhandker- 
chief; white stockings; shoes and buckles. Costume of Savoy. 

Servant. — Livery. 

Countess de Novara. — White morning dress, a la Francaise. 

Madame Champignon.— Checked silk dress; plush bonnet and shawl. 

Barbara. — Pink jacket ; striped petticoat ; white stockings ; shoes and 
buckles; head-dress composed of a handkerchief bound over the cap in the 
Piedmontese fashion. 



An excellent farce by Planche. Champignon is the party in 
the peculiar position. He deals in superfine groceries, and stops 
before crossing the Italian frontier to solicit the custom of the 
Count de Novara, who, suspected of disloyalty to Government, 
is hiding in his own chateau until he can pass the frontier. The 
Countess, by a stratagem, secures the grocer's passport for the 
Count, who is enabled thereby to escape, but poor Champignon is 
arrested in his place by Major Lascari, who stays to watch him. 
Being a thorough ladies' man, the gallant grocer is persuaded by 
the Countess to carry out this deception, and they have a funny 
dinner scene in which Champignon is very droll. He must be a 
good low comedian. At this juncture Madame Champignon, in 
search of her missing husband, is announced, which further com- 
plicates matters. Major Lascari now discovers the imposition, 
but at the same times receives dispatches proving the Count's in- 
nocence. As Champignon has behaved very badly, and made love, 
not only to the Countess, but to Barbara, her maid, the Major 
arrests him and lets him think for awhile that he is going to be 
shot. "When it appears that he has been sufficiently punished, 
matters are explained and there is a general reconciliation. Bar- 
bara and Carlo, who sustain the lovers' parts, receive the Coun- 
tess' sanction to their union. Pepito, a meddling mischief-maker, 
is also a good part. 



ANALYSIS OF PLAYS. 



137 



PENELOPE ANNE. 
A Musical Farce in One Act, by F. 0. Burnand. 

Time in representation, forty minutes. Scene. — A room in an hotel. 
Time, late in autumn. 
CHARACTERS. 

Don Jose John Boxos de Caballeros y Carvalhos t Regalias, {of Sola- 
mane i ; generally knoivn and without familiarity mentioned as "John Box">. 

Count Cornelius de Coxo, (Land Margrave, of somewhere, with a Palazzo 
in Venice ; commonly known as " James Cox "). 

Major General Bouncer, b. l. h. 

Karl, (the German waiter) . 

Mrs. Penelope Anne Knox. 

Costumes, Modern. 

This farce is another chapter from the varied experiences of 
those famous personages, Box and Cox. It is a lively piece, with 
good parts for two low comedians. Box and Cox are both in pur- 
suit of Penelope Anne, a widow of their acquaintance. Neither 
gets her, as she is carried off by Major Bouncer, but their squab- 
bles are very amusing and will always please an audience. 



PEEFECTION ; 
OK, THE C0KK LEG.* 
A Comedy in One Act, by Thomas Hatnes Bayly. 

Time in representation, one hour. Period, 1830, or Jhe present lime. 

Scene I. — A room in Kate O'Brien's house. 

Scene II. — Drawing-room at Sir Lawrence Paragon's. 

Scene III. — Kate O'Brien's loudoir, 

CHARACTERS. 

Sir Lawrence Paragon. Kate O'Brien. 

Charles Paragon. Susan. 

Sam. 

Costumes, Modern. 

The chief objection to this play is the number of times the 
scenes are shifted— six times. You are for about five minutes 
in Miss O'Brien's room, then have to wait till it is changed into 
Sir Lawrence Paragon's, then back again, and so on. The suc- 
cess of the piece depends on Kate O'Brien — " Perfection. " She 
must be pretty and fascinating, and must sing and dance well. 
She is supposed to draw also ; but that, of course, can be man- 



138 



ANALYSIS OF PLAYS. 



aged by a less accomplished artiste than Mdlle. Bernhardt; the 
singing and dancing cannot be taken on trust. Sam and Susan 
are the usual comic valet and pert chambermaid. Sir Lawrence, 
an "old man/' gouty/ but good-hearted, wishes his nephew to 
marry Kate. The young man declares his bride must be " perfec- 
tion, ' ' but nevertheless falls in love with, the young lady, though, 
she pretends to have no gifts or graces, and to be the unhappy 
possessor of a cork leg. When, in spite of all this, he wishes to 
marry her, she delights and surprises him by proving that she is 
accomplished and as graceful as she is beautiful. 



THE PEESECUTED DUTCHMAN ; 
OE, THE ORIGINAL JOHN" SCHMIDT. 
A Farce m One Act, by S. Barry. 

Time in representation, fifty minutes. 

Scene I. —A room in Mr. Plentiful's hotel. Second grooves. 
Scene EI. — A room in Mr. Plentiful s hotel. First grooves. 
Scene III. — A chamber in fourth grooves. 

CHARACTERS. 

John Smith or Schmidt {the Persecuted Dutchman of the firm 'of Schmidt, 

Vondunder, Kelt & Co., N. Y.) 
Captain Blowhard (with blows and blowing). 

Hon. Augustus Clearstarch (fond of Daughters whose dads have dimes). 
Charles Soberly (a nice young man, particularly fond of Miss Arabella). 
Mr. Plentiful {fond of Customers) . 
Teddy (fond of Perquisites). 

Miss Arabella Blowhard (fond of Whiskers and Moustachios). 
Mrs. Plentiful, (fond of Change). 
Perseverance (fond of Everything that's good), 

A farce with a good dialect part. Mr. and Mrs. Plentiful keep 
a hotel. To it comes Hon Augustus Clearstarch, who has run 
away with Arabella Blowhard, a boarding-school Miss — for her 
money. At his heels comes Captain Blowhard, her father, a vio- 
lent old gentleman, and Charles Soberly, a nice young gentleman, 
and a lover of Arabella. The Hon. Augustus, finding there is 
danger in the air, and that Arabella will be disinherited, thinks best 
to run away ; and meantime, John Schmidt, a traveling u Butch- 
man/' is put into the room assigned to Clearstarch, and is there 
punished, persecuted and robbed of his rest, first by the " Boots," 
Mrs. Plentiful, and Augustus, and then by the incensed father 
and injured lover, who suppose him to be Arabella's abductor. 
Finally the noise brings all the characters upon the scene armed 
with lights, pitchforks, sticks and other instruments of battle 
—poor John Schmidt becomes himself once more, and ceases 



ANALYSIS OF PLAYS. 



139 



to be a "Persecuted Dutchman/' Much funny ousiness in this 
piece, which must go off quickly. 



THE PET LAMB. 
A Domestic Scene, in One Act, by Clement "W. Scott. 

Time in representation, twenty minutes. 

Scene, a miserably furnished room. Cliairs and table, and a little cot, in 
which Bertie is discovered, with toys and picture-books on the bed when curtain 
rises. Fireplace, saucepans, etc. 

CHARACTERS. 

Nancy Turner ( a poor Dressmaker). Papa "Walter (a ruined Farmer). 
Bertie (a sick Child). 

Costumes/ Modern. 

This is a pathetic little sketch, requiring but one scene — a 
garret — poor lodging-room. It tells how a poor mother and her 
sick child are succored and saved by a kind friend, who is also a 
rejected lover. Overcome by his generous kindness, the widow 
says yes. 



PICKING UP THE PIECES. 
A Comedietta in One Act. 

Time in representation, thirty minutes. Scene, Mrs. Melton's apartment in 

Florence. 

characters. 

Lord Dawlish (who has forgotten his youth). 
Mrs. Melton (a Widow no longer young). 

Costumes, Modern. 

One of those racy dialogues which are now so popular. Lord 
Dawlish is an easy-going bachelor, who has almost forgotten his 
youth. He is interested in Mrs. Melton, a widow, no longer 
young, but brilliant and energetic. Their talk is sprightly and 
entertaining. He ends by proposing marriage. She refuses ; 
but when he departs in dejection, calls him back to tell him why 
she is cruel. In early youth she loved a youth from whom she 
was parted, and has never loved anyone beside. This recalls to 
Lord Dawlish/s mind a reminiscence of his own boyhood, which 
is exactly similar, and upon a further comparing of notes, they 
find in each other the hero and heroine of the pretty little boy and 



140 



ANALYSIS OF PLAYS. 



girl romance. So they conclude to u Pick up the Pieces n of 
their broken lives and go on again re-united. 



PIPES AND PERDITION.* 

A Comedy in One Act, by J. Y. Prichard. 

Time in representation, forty-five minutes. Scene, a private salon in the Hotel: 
Violeite, Paris. Time, the present. 

CHARACTERS. 

Captain Vane Valentine. Mrs. Alice Vane Valentine, 

Weekes (a Valet). Miss Rebecca Moloch. 

Costumes, Modern. 

This is an absurd piece of nonsense treated after the French 
manner, and will create more laughter than many a better piece. 
The actors must all be good— especially the spinster aunt. The 
honeymoon of Captain Yane Yalentine and his bride is just half 
gone, and the captain, in the temporary absence of his wife, who 
has a deep-seated prejudice against tobacco, is discovered " blow- 
ing a cloud." In his bachelor days he has been a devoted 
smoker, to whom his pipes have stood in the place of sweethearts, 
and so fond is he of them that each one has a seductive 
feminine appellation. Now for the first time in a fortnight he is 
enjoying the companionship of a favorite pipe called Marguerite. 
The sudden return of Mrs. Yalentine puts him to flight. She is 
not alone, but accompanied by her spinster aunt, Miss Kebecca 
Moloch, and she is sadly preoccupied. The truth is, she has over- 
heard her husband and his valet, Weekes, talking about his pipes, 
always calling them by their names. The inference which she 
draws is natural. Now with tears she confides the whole dread- 
ful business to Miss Moloch. Then they arraign "Weekes, who, 
not understanding their mistakes, makes matters worse. Then 
they attack the Captain, who at last comprehending, goes off into 
roars of laughter. With mock repentance he sends Wtekes for all 
the creatures, that he may throw them from the fourth story 
window ; and this further horrifies the spinster aunt, who thinks 
murder is to be committed. The denouement is funny in the ex- I 
treine, and, if Aunt Rebecca does her duty, will be side-splitting 
to the audience. The criminals are thrown out the window, 
though the bride intercedes for them and oromises never to be 
jealous again. 



ANALYSIS OF PLAYS* 



141 



PLOT AND PASSION * 

A Drama in Three Acts. 

Time in representation, about an hour and a half. Period, 1810. 

Scene I. — A drawing-room in Paris, 
Scene II. — A room in a cottage overlooking the Elbe. 
Scene III.— Same as Scene I. Night. Stage dark. 
Action of the piece extends over tivo months. 

CHARACTERS. 



Touche (Minister of Police) . 
Desmaeets {Head of Secret Police). 
Marquis de Cevennes (a Legiti- 
mist). 

De Neuvelle (his Secretary)* 



t 

Jabot (Madame de Fontange's 

Steward). 
Gbisbouele (a Subordinate of 

Desmaeets').' 
Madame de Fontanges. 
Cecile (her Maid). 



Costumes of the Empire. 

The passion of Madame de Fontanges is for gambling. Fouche 
supplies her with money for the purpose, and in return compels 
her to act as a spy, and finally to decoy Henri de Neuville back 
to Paris from Prague, where he has taken refuge. A most inter- 
esting and exciting play ; no difficulties in scenery or manage- 
ment ; bat Madame de Fontanges is an ambitious part for an 
amateur, and Fouche, Desmarets, and De .Xeuville require good 
acting. Cecile is a good chambermaid part. De Cevennes, an 
empty-headed coxcomb, may be made a good deal of. It is an 
excellent play for a strong company. There is a secret passage 
in the drawing-room ; a picture moves on touching a spring and 
discloses it. In the second scene there should be a practicable 
French window leading on to a terrace. Madame de Fontanges 
saves Henri and outwits Fouche, aided by "the master-passion, 
love, that still is lord of all." 



THE POOR GENTLEMAN. 

A Comedy in Three Acts, by George Colman. 

Time in representation, two hours and fifteen minutes. Period, 1795. 

Act 1. — Scene I. — A farm-house kitchen. Scene II. — A breakfast-room. 
Scene III. — Outside of farm-house. Scene IV. — Parlor in farm-house. 

Act II. — Scene I. — A room in Sm Robeet Beamble's house. Scene II. — A 
farm-house kitchen. Scene III. — A wood, skirting a village. Scene IV. — Out- 
side of farm-house. 

Act ill. — Scene I. — A wood. Scene II. — Parlor in farm-house. Scene HE. 
—Sib Chabees Cbopland's park. 



The action of the piece extends over two days. 



142 



ANALYSIS OF PLAYS, 



CHARACTERS* 



Lieutenant Worthington. 

Corporal Toss {his Servant). 
Sir Charles Cropland, 
Wabner [his Steward), 
Sir Egbert Bramble. 
Frederick Bramble {Ms Nephew.) 
Humphrey Dobbins (his Servant). 
Farmer Harrowby. 



Stephen Harrowby {Ms Son). 

Dr. Ollapod. 

Valet. 

Emily Worthtngton {the Lieutenant's 

Daughter). 
Miss Lucretia MacTab. 
Dame Harrowby. 
Mary Harrowby {her Daughter). 



Costumes, Time of the French Revolution. 

Br. Ollapod and Miss Lucretia MacTab are characters almost 
as well known as Mrs. Malaprop and Sir Lucius O'Trigger. As 
the success of the play depends on the former, it is needless to say 
that a very good actor will be wanted. The play requires a 
strong cast altogether. That, with its length and the number of 
scenes required, make the getting-up of it no light task, but it will 
reward the trouble. Dr. Ollapod is an apothecary who has joined 
a volunteer corps— "Lapelles tastefully turned up with rhubarb." 
He is a mixture of medicine and martial ardor. The hero aud 
heroine (Frederick and Emily) have really some character ; they 
are not the namby-pamby walking lady and gentleman one gen- 
erally finds in old plays. Frederick is impulsive and manly, 
while his lady-love snubs an unwelcome and" too ardent admirer 
(Sir Charles Cropland) with considerable vigor. Her father is 
''the poor gentleman." Sir Kobert Bramble and his blunt old 
servant Humphrey are good characters. The parts of Farmer 
Harrowby, his wife, son, and daughter, may be greatly cut if 
wished ; they have nothing to do with the plot : at the same time, 
in themselves they are good characters, except Mary, who has 
only a few words. There are a great number of old men in this 
play — the half-pay lieutenant and his servant, Warner, Sir 
Robert, Humphrey, and Farmer Harrowby — not counting Olla- 
pod, who is generally played as an elderly man. Altogether, 
this is one of the best plays in the English language. 



POOE PILLICODDT.* 

A Farce in One Act, by J. Maddison Morton. 

Time in representation, fifty-five minutes. Period, 1850, or the present. 

Scene. — A nurseryman's shop. 

CHARACTERS. 

Mr. Plllicoddy {Nurseryman). Mrs. Plllicoddy. 

Captain O' Scuttle. Mrs. O' Scuttle. 

Sarah. 

Costumes, Modem and nautical. 



ANALYSIS OF PLAYS. 



143 



Mr. Pillicoddy is a happy bridegroom. His bride was a widow 
—a Mrs. 0' Scuttle. "When Captain 0' Scuttle rushes on, looking 
for his wife, Pillicoddy imagines this is his wife's first husband 
come to life again, and tries to poison himself by eating poppy- 
heads. Sarah is a capital comic servant. This play is a great fav- 
orite with amateurs : it is amusing and unobjectionable, and with a 
good Pillicoddy is sure to go well. There are very few properties 
required. 



THE POETEK'S KNOT* 
A Serio-comic Drama m Two Acts, by John Oxenford. 

Time in representation, one hour and thirty-Jive minutes. Period, the present. 
Scene I. — A room in a cottage. Scene^II. — Exterior of hotel at the sea-side. 

CHARACTERS. 

Samson Burr. Bob (a Shop Boy). 

Captain Oakum. A Passenger. Waiters. 



Augustus Burr. 
Stephen Scatter. Miss Burr. 



: (a Lawyer). Alice. 

Action of the piece, a cgvvU- of years. 

Costumes, Porter's white frock and badge, Policeman's, Sailor's. 

An interesting play ; pathetic, therefore requiring good acting. 
It is a one-part play. Samson Burr, the porter, bears the weight 
of it. To save his son, who has got into the clutches of Smirk, 
a money-lender, he gives up the whole of his forty years' earn- 
ings and goes back to his old employment, allowing his wife to 
think that he has speculated and lost the money, rather than that 
she should have the pain of knowing of her son's conduct. 
Mrs. Burr has a good part ; and Alice, who is engaged to Augus- 
tus Burr, has some pretty scenes. Scatter is a lively ne'er-do- 
well, who has helped young Burr to spend his money. Bob has 
only a few words at starting, and can afterwards be turned into 
"a passenger/' Second Act, old Burr is almost worn out with 
his hard life, when his son comes back from Australia, re-estab- 
lished in purse and character, and all ends well, 



144 



ANALYSIS OF PLAYS. 



PEISON AND PALACE * 
' A Comic Drama in Two Acts, by J. Palgrave Simpson. ; 

Time in representation, two hours. 
Act I. — Scene. — Room in a Russian fortress. 

Act II. — Scene. — An apartment in the Imperial summer palace at St. Peters- 
burg. 

CHARACTERS. 

Count Schuvaloff (Russian Minister of Police). 
Major Deaken (Governor of a Russian Fortress). 
Alexis Romanoffski (A Young Lieutenant) 
Alexandeb Steifenbach (Officer in the Imperial Guards). 
Elizabeth (Empress of Russia). 
Eeodoba (Daughter of Majob Deaken). 

COSTUMES, Russian of the Period. 

A very graceful play in J. Palgrave Simpson's best style, illus- 
trating an episode in the life of the Empress Elizabeth, of Kussia. 
The interest is continuous, and the situation strong. The young 
Lieutenant, Alexis Bomanoffski, imprisoned by the Minister, 
Count Schuvaloff, for a flirtation with his wife, finds his sympathy 
excited by another prisoner, who is surrounded by mystery, and 
for whose safe keeping the Governor of the fortress, Major Draken, 
is answerable with his life. His daughter, Feodora, engaged to 
her cousin, Alexander, still cherishes a weakness for Alexis, and 
forms an ingenious plan for his escape. This oppoilunity he 
generously relinquishes in favor of the political prisoner, who is 
really Duke of Couiiand and cousin to the Empress. At this 
juncture the Empress, a young, lovely and generous woman, 
comes incognito to the fortress to interview her cousin. She is 
preceded by Count Schuvaloff, fussy and pompous. This is a 
splendid low comedian part. The bird being flown, Alexis vol- 
unteers to personate him, and in the character of the Duke of 
Couiiand makes a strong impression upon the Empress, who 
leaves an order to have him taken to her palace. He can do 
nothing but continue the deception, and is presented to Her 
Majesty, with whom he has very dramatic and interesting scenes. 
They love each other, but Alexis trembles for his life and that 
of his friend when the imposition is discovered by the Empress. 
She finally intercepts a note written by the real Duke to Alexis. 
Her indignation is great, but her heart is gone. She tries Alexis 
by pretending to condemn him to death. He submits to die 
rather than betray the truth, and so bring his friends to punish- 
ment, and the Empress, overcome by so much magnanimity, 
creates him Count and bestows upon him her left hand, which, as 
Empress, is all she can give in marriage. This play combines 
humor, sentiment, and pathos. 



ANALYSIS OF PLATS. 



145 



A PETVATE INQUIRY.* 
A Farce m One Act, by B. "Webster, Jr. 

Time in representation, forty minutes. Scene, a well-furnished room. Centre 

door. 

CHAKACTEKS. 

Chakles Madiscn. ' Straps. 

JMr. Walter Worricow. Emily Madison. 

John Carder. , Laura Carder. 

COSTUMES. 

Charles Madison. — Light trousers and waistcoat, morning coat, and dress 
coat. 

Mr. Walter Worricow. — Hessian boots, black coat, vest, and pantaloons. 

John Carder. — Light modern suit. 

Straps. — Servant — striped jacket. 

Emily Madison. — White frock, etc., modern. 

Laura Carder. — Street dress, modern. 

A farce on which everything depends on old "Worricow. He 
is a monomaniac about his d?cUghter Emily married to Charles 
Madison, and is determined that Charles snail make her miser- 
able whether or no, and that he — her father, shall be the one to 
discover and expose so unworthy a husband. So he browbeats 
and badgers poor Charles, searches his pockets, and finds a letter 
which he considers damning evidence against him. After a tre- 
mendous excitement the letter turns out to be for Emily, from a 
school Mend ; so old Worricow has to give up ; beaten. 



PYGMALION AND GALATEA. 



A Comedy in Three Acts, by "W. S. Gilbert. 

Time in representation, one hour and three-quarters. Period, remote classic 
antiquity. 

Scene. — Pygmalion's studio ; at the back an alcove, containing a statue of 
Galatea. 

Action of the piece extends over a period of twenty-four hours. 
CHAKACTEKS. 

Pygmalion {an Athenian Sculptor), Galatea (an animated Statue). 
Leucippe (a Soldier). Cynisca (Pygmalion's Wife). 

Chrysos (an Art Patron). Daphne (Chrysos' Wife). 

Agesinos (Chrysos' Slave). Myhtne (Pygmalion's Sister). 

Mimos (Pygmalion's Slave). * 

Costumes, Greek. 



146 



ANALYSIS OF PLAYS. 



This play has one peculiarity not to be found in any other three- 
act comedy that I am acquainted with (except " The Ladies' 
Battle ")— the same scene is used throughout. It is a Greek 
studio ; several statues (some unfinished) are scattered about ; 
the alcove, in which is the statue of Galatea, is screened with cur- 
tains. ' So far all is easy if the statues can be borrowed or hired ; 
but when it comes to the performers, Galatea must not only be a 
lady with classical features, so as to bear some resemblance to 
the statue, but she must also be an actress comme il y eu a pea, 
in order to do justice to Mr. Gilbert's beautiful creation. » This 
book is written for the purpose of saving people the trouble of 
wading through a lot of play-books, but in this case I strongly 
advise them to send for a copy, not with the idea of performing 
it (for it is really beyond amateurs, except those who can vie with 
professionals), but simply for the pleasure of reading it. Most 
people know the plot of " Pygmalion and Galatea.'' Pygmalion 
prays that his statue may live, and the gods, to punish his im- 
piety, grant his prayer. The perfect innocence and unwoiidli- 
ness of Galatea are touching, though they provoke a smile ; of 
course they become so very inconvenient that it is a relief to the 
rest of the people when poor Galatea is turned back again into 
marble. Cynisca, aided by Artemis her mistress, strikes her hus- 
band blind for having been unfaithful even in thought to her. 
Leucippe deserts Myrine, his betrothed bride, and Daphne turns 
Chiysos out of doors. These two are as good characters as low 
comedians could wish for. Cynisca's is almost a tragic role and 
requires very good acting. She is the model from which Galatea 
is copied, so it is desirable that the lady who plays this part 
should have classic features and not be very unlike Galatea and 
the statue. Myrine has a good deal to do. The two slaves and 
Leucippe, a bluff soldier, are parts easily filled ; Pygmalion, of 
course, requires a really good actor. The classic dresses make 
this play effective as a tableau. 



QUITE AT HOME.* 
A Comedietta m One Act, by Arthur Sketchley. 

Time in representation, forty-Jive minutes. 

Scene I. — Fredebick Johnson's Chambers in Temple. 
Scene II. — Mk. Frederick Johnson's Villa at Norwood. 

chaeactees. 

Mr. Frederick Johnson (Barrisler-at- Haji (his Native Servant). 

Law). Sloman (Butler to Mr. Johnson). 

Frederick Johnson (Attorney-at-Law). Miss Angelica Johnson (a Spinster). 

Alfred Fitzglbbon [of the Bengal Mitchison (her Maid). 

Plungers, home on leave). 

Costumes, Modern. 



f ANALYSIS OF PLATS. 



147 



Comedietta in one short act. Alfred Fitzgibbon, of the Ben- 
gal Plungers, is home on leave, and goes down in the country to 
visit his friend, Mr. Frederick Johnson, who, not being able to 
accompany him, sends him on ahead and desires him to make 
himself quite at home. Alfred gets into the house of another 
Mr. Johnson, and, with his Indian servant, makes himself at 
home with a vengeance; and captures the affections of a spinster 
sister. When the wrong Johnson comes there is trouble, of 
course, which is only settled by the right Johnson's coming to 
the rescue. Whoever acts Haji, the native servant, must be 
dressed and colored to meet Oriental ideas. 



THE KACE BALL; 
OR, CHAOS IS COMB AG AIjST. * 
A Farce in One Act, by J. M. Morton. 

Time in representation, forty-Jive minutes. 

SCENE I. — Apublic room at an inn. Scene II. — Another room at the same inn 
Scene III. — An illuminated ball-room. 

CHARACTERS. 



Colonel Chaos. 
Jack Bunce [his Nephew). 
Tottenham {Landlord). 
Sam (a Waiter). 



James (a Waiter). 
Blazes (a Bailiff). 
Harriet (Ward of Colonel Chaos). 



COSTUMES. 

Colonel Chaos. — First dress, Blue regimental surtout and drab great coat, 
white breeches, military boots and broad-brimmed hat. Second dress, Blue 
regimental lull dress coat, white breeches, silk stockings, and shoes with 
buckles. 

Jack Bunce. — First dress, Green jockey coat, plaid waistcoat, and drab 
trousers. Second dress, Blue dress coat with gilt buttons, white cravat, 
fancy waistcoat, black pantaloons, and shoes. 

Tottenham. — Drab coat, white cravat, white waistcoat, drab breeches, 
white sto kings, and shoes. 

Sam. — First dress, White coat, brown breeches, white stockings and shoos. 
Second dress Blue coat, much too large for him. 

James. — Same as Sam. 

Blazes. — Bushy whiskers, broad-brimmed hat, brown tops, and drab great 
coat. 

Harriet. — First dress, Riding habit. Second dress, Ball dress of blue 
silk. 

Colonel Chaos is an irascible old fellow, fresh from India. He 
wants his nephew, Jack Bunce, to marry his ward, Harriet, with 
twenty thousand pounds. But Jack, being a lad of spirit, has 
refused to sell himself and taken refuge from his creditors at a 
country inn. There is about to be a race ball and all is excite- 



148 



ANALYSIS OF PLAYS. 



ment. The carriage of Colonel Chaos and ward gets upset near 
by and they take refuge in the inn. None of the parties remem- 
ber each other's appearance. Jack, supposing his Uncle Chaos 
to be a bailiff, tells the landlord he is a lunatic, which makes it 
very unpleasant for Chaos; but he falls in love with Harriet all 
the same, which brings matters to an agreeable conclusion. There 
is a good deal of funny business with old Chaos, and the whole 
thing is entertaining. 



BAND ALL'S THUMB. 
A Comedy m Three Acts, by W. S. Gilbert. 

Time in representation, two hours and a half. Period, the present, 

Scene I.— Gardens of Beachington Hotel. Scene II.— The Clump Rocks % 

Scene III. — Same as first scene. 

Action of the piece extends over a week. 

CHARACTERS. 

Dr. Trotway. Cumming {a Waiter). 

Joe Bangles. Clench (a Superintendent of Police). 

Randall (an Adventurer). Edith Temple (Dr. Trotway's Niece). 

Buckthorpe (under his thumb). Mrs. Scantlebury. 

Mr. Scantlebury (supposed to be on Mrs. Flamboys. 

his honeymoon). Miss Spinn. 
Mr. Flamboys (an old Stager). 

Costumes, Modern. 

A play very well suited to amateurs in many respects, but the 
second scene would be most difficult to manage. Caves and 
rocks in the foreground, the sea in the distance ; the tide gradu- 
ally comes in, and a boat appears, sculled by Randall, to take off 
the people left on the rocks. Buckthorpe and Edith have pretty 
sentimental scenes, and Bangles and Miss Spinn excellent comic 
ones. Mrs. and Mrs. Scantlebury are an old couple who pretend 
to be on their honeymoon ; Mr. and Mrs. Flamboys are really in 
this happy state, but wish to pass for an old married couple. 
Eandall is the villain of the piece, who has got Buckthorpe, a 
young soldier, under his thumb. This is an "all-round" play; 
all the ladies have good parts. Randall, Buckthorpe and Bangles 
(low comedian) will require good actors. There is a picnic 
(which necessitates a good many properties) in the second scene. 



ANALYSIS OF PLAYS. 



149 



THE RESULT OF A NAP * 
A Farce in Theee Acts. 

Time in representation, thirty minutes. 

Act I. — Scene, Bbagg's room. 

Act II. — Scene, Another room in Vie same house,, 

Act III. — Scene, The same as in Act I. 

CHARACTERS. 

Mr. Henry Rasper (a Hunting Gentleman of the Languid School)* 

Mr. Thomas Bragg (a ditto of the After-Dinner School). 

Bottles (the Butler). 

Mrs. Rasper (Henry Rasper's Wife). 

Dorothy Darling (her Sister). 

The first act contains the introduction. The second and third comprise the 

drama. 

COSTUMES, 

Rasper and Bragg will find it the most convenient plan to dress themselves 
in their hunting things, with the exception of the coat and boots, at once, 
and draw over them a dressing-gown and pair of loose trousers, with slip- 
pers, for the first act. They will thus lose no time in changing for the second 
act, and will be able to get back into their former attire with greater expedi- 
tion when the time comes in the course of the third. The other characters 
in ordinary morning costume. 

Rasper and Bragg, two hunting gentlemen, converse before 
separating for the night. The latter brags vaingloriously of his 
prowess in the field and is invited in consequence to take a run 
on the following morning, mounted on a vicious old mare belong- 
ing to the former. Bragg then falls asleep and dreams the succeed- 
ing two acts, in which he comes to grief on the bay mare. On 
waking he is so terrified by his dreams, that he incontinently con- 
fesses to Rasper that he has been lying, and is not able to ride. 
This piece depends upon quick movement and sprightly acting 
for success. 



THE RINGDOVES* 
A Farce in One Act, by Charles Mathews. 

Time in representation, one hour and eight minutes. Scene, a drawing-roam. 

CHARACTERS. 

Sik Habby Ringdove. Hobnail (a Ploughhoy). 

Harry Ringdove. Miss Longclaceit. 

Moony. Cecilia. 



150 



ANALYSIS OF PLAYS. 



COSTUMES. 



Sir Habby Ringdove. — First dress, Blue square-cut bodj-coat, white cord 
breeches, buff waistcoat, top boots, and black neckcloth. Second dress, 
"White neckcloth and white waistcoat, bouquet in coat. 

Habby Ringdove. — Light brown Newmarket coat, gray fashionably-cut 
trousers, and buff waistcoat, black satin neckcloth, brown Holland gaiters. 

Moony. — Green livery turned up with red, brown gaiters and shoes, white 
neckcloth. 

Hobnail. — A ploughboy. 

Miss Longclackit. — White silk dress, trimmed with blond and white satin, 
white satin hat and feathers, white satin shoes. 

Cecilia. — White watered silk, trimmed with blonde; white lace veil, white 
satin shoes. 

An excellent farce by Charles Mathews, with one of the best of 
Irish parts. Mooney has as much wit as brogue, which is not 
often the case. Sir Harry Eingdove, an old gentleman, would 
fain marry the youthful Cecilia j so he cuts off his pigtail, throws 
away his snuff-box, sends off his old housekeeper, and allows Miss 
Longclackit, Celia's aunt, to talk him to death ; and all this with- 
out the knowledge and consent of his heir and nephew, Harry 
Eingdove. Just before the ceremony Harry makes his appear- 
ance, ascertains the truth, gets his uncle out of the way by a 
clever stratagem, dresses up in his clothes and marries the young 
lady himself. When the old gentleman gets back every one pre- 
tends not to know him ; but he is rescued from his distress by 
Harry — who has resumed his own dress — and, finding himself 
out-manoeuvred, he gives the young pair his blessing with a good 
grace. All the characters are excellent in this play, which is 
very popular among amateurs. 



A Comedy in Five Acts, by the Eight Hon. E. B. Sheridan. 



Act I. — Scene I. — A street in Bath. Scene II.— Room in Mbs. Malapbop's 

lodgings. 

Act II. — Scene I. — Captain Absolute's lodgings. Scene II. — The North 

Parade. 

Act III. — Scene I. — The North Parade. Scene II. — Julia's dressing-room. 
Scene III. — Mbs. Malapbop's lodgings. Scene IV. — Acbes' lodgings, 

Act IV. — Scene I. — Acbes' lodgings. Scene II. — Mbs. Malapbop's lodg- 
ings. Scene III. — The North Parade. 

Act V. — Scene I. — Julia's dressing-room. Scene II. — King's-mead Fields, 



THE RIVALS. 



Time in representation about two hours, Period, 1775. 



CHARACTERS. 



Sib Anthony Absolute. 
Captain Absolute. 
Sib Lucius O'Tbiggeb. 
Iaulkland. 
Bob Acbes. 

Tag (Captain Absolute's Valet), 



David (Acbes' Servant). 

Coachmen and Servants, 

Mbs. Malapbop. 

Lydia Languish (her Niece). 

Julia. 

Lucy (Lydia's Maid). 



ANALYSIS OF PLAYS. 



151 



Costumes, latter part of the 18th century. 

This well-known comedy has only one fault— its length. It is 
now usually played in three acts/ and the parts of Faulkland 
and Julia are very much cut. As can be seen at a glance, there 
must be a good deal of scene-shifting, and five different scenes at 
least are wanted — a street scene, Mrs. Malaprop's, Captain Abso- 
lute's, and Acres' lodgings, and the King's-mead fields, where 
the celebrated duel does not take place. It is needless to talk of 
Mrs. Malaprop, the best-known comic old woman's part on the 
boards; or of Lydia Languish, the sentimental heroine, who de- 
clines to marry "the man she is in love with — Ensign Beverley — 
because he turns out to be Captain Absolute, the husband chosen 
for her by her friends. Julia is a walking lady, with a turn for 
moralizing; Lucy, a capital soubrette part. Of the men, old Sir 
Anthony, irascible and noisy ; his son, whose salient point is his 
cool assurance ; Sir Lucius, a fire-eating Irishman ; and Bob 
Acres, whose curious oaths are more striking than his valor — all 
are excellent parts, which require to be well filled. In fact, it is 
useless to attempt this comedy, which most people have seen 
well played, without a very strong company. Even the smaller 
parts — Fag, David, &c, are good. The dialogue is so witty, and 
the characters so distinct, as to be a great help to the actors ; 
but at the same time (for all the business) it is highly desirable 
that the chief parts should be taken by people who have seen the 
play, or who are experienced players. Madame Ponisi, as Mrs. 
Malaprop, is something to remember. Any one who does not 
know the plot of this play is strongly advised to get it and read 
it. There are no difficulties about any of the scenes or proper- 
ties : these old five-act comedies are far less troublesome in that 
way than a modern farce, as a rule. 



THE ROAD TO RUIN. 



A Comedy in Three Acts, by Thomas Holcroet. 

Time in representation, two hours and Jifteen minutes. Period, 1790. 
Action of the piece extends over two days. 

Act I. — Scene I. and III. — A room in Dornton's house. Scene II. — Street 
before Dornton's house. Scene IV. — A room in Widow Warren's house. 

Act II. — Scene I (often omitted). — Parlor of the Tennis Court. Scenes II. 
and IV — A room in Sulky's house. Scenes III. and V. — Same as Act I. 
Scene IV. 

Act III. — Scene I. — A room at a sheriff's officer's. Scene II. — Same as 
Act I. Scene I. Scene III. and Y.—Same as Act I. Scene IV. Scene IV. — The 
ring in Hyde Park. 



152 



ANALYSIS OF PLATS. 



CHARACTERS. 

Mr. Dornton (a Banker). Sheriff's Officer. 

Harry Dornton (his Son). Servants and Tradesmen. 
Sulky (Dornton's Partner). 
Mr. Smith (Dornton's Clerk). 

Milford (Harry's Friend). "Widow Warren. 

Silky (a Money -Lender). Sophia (her Daughter): 

Goldfinch. Mrs. Ledger. 

Jacob (a Servant). Jenny (M rs. Warren's Maid). 

Costumes, latter part of the 18th century. 

"Written in five acts, but can be performed in three with ad- 
vantage. Widow Warren comes on talking to a* milliner and 
several tradesmen, but there is no object in this scene and it is 
often omitted. The ladies in this play are not well treated. 
Widow Warren is a peculiarly disagreeable character, vain, vul- 
gar, heartless, and ready to marry any one who offers. Sophia is 
silly and simpering, beginning every sentence with "Oh, la!" 
She is meant to be very innocent and engaging, and, perhaps, 
in the hands of a clever actress, she might be made so. Jenny is 
an ordinary chambermaid. Mrs. Ledger, a poor widow begging 
for charity, only speaks a few sentences, and might be omitted 
altogether. The road to ruin is being traveled on by Harry 
Dornton, Milford, Goldfinch, &c. Harry's gambling debts are so 
great that he shakes the credit of the house, which is in imminent 
danger of bankruptcy ; to save his father he rushes off to marry 
Widow Warren and her fortune, although he is in love with 
Sophia. His is a good . part, something in the style of Charles 
Surface. Old Dornton is a heavy father, almost bordering on 
tragedy ; he has some good scenes with his son when he resolves 
to be severe, but always relents. Sulky, his partner, has a rough 
exterior, but a kind heart ; Silky has just the reverse. The will 
of the late Warren having fallen into his hands, he makes a bar- 
gain with the widow to say nothing about it, for a heavy consid- 
eration. The most effective scene in the play is when Milford 
and Sulky burst upon them and Goldfinch as they are about to 
burn the will— out of two cupboards into which they have been 
locked by accident. Goldfinch is the character that makes this 
comedy ; he is the precursor of all those patter parts in which 
Charles Mathews excelled— he is a horsey, rattling, addle-pated 
fool. Harry Dornton and Goldfinch require good actors. 



ANALYSIS OF PLAYS. 



153 



A BEGXJLAR FIX.* 

A Farce, by John Maddison Morton. 

Time in representation, fifty minutes. Period, the present. 
Scene. — A drawing-room. 

CHARACTERS. 
Hugh de Brass. Porter. 
Surplus {a Lawyer), Mrs. Surplus. 

Charles Surplus (his Nephew). Emily 

Able Quick {his Clerk). ' Deborah Carter (Housekeeper)* 

Smiler (a Sheriff's Officer). Matilda Jane (Housemaid). 

A good Hugh de Brass and this play is cast. He finds himself 
in Surplus' house ; and as a bailiff is waiting for him outside he 
naturally wishes to stay there until his enemy shall have moved 
off, so he talks against time. Surplus, the lawyer, must be able 
to take De Brass up quickly. All the other parts are extremely 
simple and may be trusted to beginners. Nothing can be more 
amusing than Hugh de Brass' efforts at eloquence, and the won- 
derful pedigree case that he invents in order to consult the lawyer 
about it. Be Brass is a gentleman ; but, as his name implies, he 
is blessed with a considerable amount of cool assurance. The 
words have to be rattled off with very considerable fluency. 



ROMANCE UNDER DIFFICULTIES. 

A Farce in One Act, by F. C. Burnand. 

Time in representation, half an hour. Period, the present. Scene, a room. 
CHARACTERS. 

Mr. Benjamin Newberry, Mr. Timothy Diggles. 

Mr. Frederick Markka m. Miss Fanny Newberry. 

Costumes, Modern. 

The only objection to this laughable bit of nonsense is that Mr. 
Burnand has fixed on a bedroom as the scene. An ordinary 
sitting-room does quite as well ; Markham can hide behind the 
window-curtains, or under the sofa. A trombone is indispensable ; 
there is a full list of properties given at the beginning — a great 
convenience ; also there are very few of them. There must be a 
practicable window, through which some of the characters ap- 
pear, head-first, as if climbing up a ladder from a lower story. 
Newberry is an irascible " old man," father of Fanny. Mark- 
ham, a light comedian ; Diggles, a low comedian ; Fanny, a 
lively young lady, in love with Markham. All the parts are 
good; and the words are funny, as Mr. Burnand's always are. 



154 



ANALYSIS OF PLAYS. 



KOSEBUD OF STINGING NETTLE FAKM. 

A Burlesque, by H. J. Byron, 

Time in representation, a quarter of an hour. Scene, a corn-field. 
CHARACTERS. 

Gaffer Turmutfield {a Farmer). Giles Furrow (a Virtuous Peasant). 

Sir Narcissus Slapdash (a Villain). 

Hugly (his Creature). Rj©se Turmutfield. 

Costumes.— Burlesque "Villain," wicked " Baron," &c. 

The burlesque sensation dramas of Byron's are most laughable. 
They were written for the Dramatic Fete at the Crystal Palace, 
and are usually performed by men ; but there is no reason why a 
lady should not play Rose — a little softened down, perhaps. The 
others of the series are, ' Blazing Burgee,' 4 m. f.; ' Port Admi- 
ral/ 4 m. If; ' Briganzio the Brigand,' 3 m. If.; ' Tyrant, Slave/ 
&c, 3 m. 2 f., ' Domestic Hearthstone/ 3 m. 1. f.; 1 Pretty Jane/ 
5 m. 2 f.; ' Alice, the Mystery,' 4 m. 1. f. The scenery and cos- 
tumes may be as absurd as possible, and the whole thing can be 
got up at a few hours' notice, and will probably produce more 
laughter than more ambitious attempts. Of course, the villains 
must be very melodramatic. 



THE ROUGH DIAMOND.* 



A Comic Drama in One Act, by John Buckstone. 



Time in representation, about fifty minutes. Period, the present, or early in the 
century, as preferred. Scene, a room or entrance-hall in a country-house. 



CHARACTERS. 

Lord Plato. Cousin Joe ( Margery's Cousin. ) 

Sir William Evergreen. t 1T , v ti I1Tn 

Captain Blenheim. ™ * -n 

^o.^xix.ijjx. Margery (Lady Evergreen). 

Costumes, Modern. 

Margery is the rough diamond ; the contrast is between her 
and Lady Plato, who is polished but false. Sir William Ever- 
green has a mania for education ; he has married Margery, a 
country girl, and has tried to make her an accomplished woman 



ANALYSIS OF PLAYS. 



155 



of the world, but hitherto " her progress has been stationary/' 
She welcomes her Cousin Joe with effusion, because he brings her 
news of all her village friends. Sir William rinds her kissing 
him (they have been talking of their childish days); but the next 
time he comes upon them unexpectedly she is boxing Joe's ears 
because he has called her husband an old fool. This, with the 
discovery of Lady Plato's double-dealing, restores Sir William's 
faith in his rough diamond. Lady Plato has married a rich old 
man, but shows a decided willingness to flirt with Captain Blen- 
heim, a former admirer, whom she pretends she has never met 
before. Cousin Joe (low comedian) and Margery are the good 
parts : the latter is very much like Nan, in " Good- for- Nothing," 
also written by Mr. Buckstone — a charming character, honest, 
genial and full of fun. There must be a stand of flowers in the 
room ; and a door, C, may have a backing of lawn, shrubbery and 
drive : but this can be imagined. An excellent play for amateurs 
—one of the best ; and not too ambitious. 



SAYINGS AND DOINGS ; 

OK, THE RULE OF CONTRARY.* 
A Farce in One Act, by J. Maddison Morton. 

Time of representation, forty-Jive minutes. Scenes I and II. — Apartments in 
Sib Toby's house. 



CHARACTERS. 

Sib Toby Titmouse. Me. Stubes. 

Chaeles Nightingale. Mes. Ma joe Wilful. 

Doctoe Meeeypegs. Lucy Lennox. 

Baeney Boueke. Phoebe. 

COSTUMES. 

Sib Toby Titmouse.-— Old-fashioned grey coat, white waistcoat, blacli sat- 
in breeches, white stockings, and shoes. 
Chaeles Nightingale.— Fashionable morning dress. 

Doctoe Meeeypegs.— Light blue riding coat, with large black buttons, 
black silk breeches, and top-boots ; ample white neckcloth and wig. 

Baeney Boueke.— Drab livery coat, red plush breeches, white stockings, 
and shoes. 

Mrs. Majob Wilful.— Old-fashioned red and white silk dress, small cap, 
and powdered hair. 
Lucy Lennox. — White satin dress. 
Ph(ebe.— Figured cotton dress, cap and black apron. 



156 



ANALYSIS OF PLAYS. 



" Barney Bourke is a lively Irishman, and npon him and Mrs. 
Major Wilful, an obstinate old woman, the fan depends. Sir 
Toby is determined to marry his ward, Lucy, to Dr. Merrypegs. 
while she inclines to Mr. Charles Nightingale. Mrs. Wilful, upon 
whom everything depends, goes contrary to all the others, and it 
is only by playing upon this peculiarity of hers that a happy de- 
nouement is at last attained. The piece is easily gotten up 
and the costumes are simple. If necessary, it can be played in 
one scene. 



SCHOOL.* 



A Comedy in Four Acts, by T. W. Kobertson, Esq. 

Time in representation, two hours and three quarters. Period, the present. 

Scene I. — A forest glade. View ofajish pond, church in distance ; raised bank 
covered with earth cloth ; stream with moss and Jlowers ; rocky seat at foot of 
tree. 

Scene II.— -Interior of school-room ; window, e. c. 

Scene III. — School-yard ; moonlight ; landscape behind, as in Scene I. a wall 
about 10 ft. high, gate in it, c. ; a swing. A set house-front with practicable 
steps ; set tree, with a bough strong enough for a man to raise himself by it. 

Scene IV. — Same as Scene III. Time, afternoon. 

Between Acts I. and II. eight days elapse; between III. and IV. six weeks. 



CHARACTERS. 



LOED BeAUFOY. 

De. Sutcliffe. 

Beau Faeintosh. 

Jack Poyntz. 

Me. Keux (a Teacher). 

Mes. Sutcliffe, 

Bella. 



Naomi Tighe. 
Tilly, 
Milly, 
Lauea, 
Claea, 
Kitty, 
Hetty, 



Schoolgirls. 



Costumes, Modern. 



An excellent and rather well-known comedy. The scene is a 
girls' school, conducted by Dr. and Mrs. Sutcliffe. Beau Farin- 
tosh is an old friend of theirs and comes to visit them, accom- 
panied by his nephew, Lord Beaufoy, and a young friend of his, 
Jack Poyntz. Lord Beaufoy at once falls in love with Bella, a 
poor little pupil teacher, and Jack Poyntz with Kaomi Tighe, a 
"West Indian heiress. The " spooning" of the little pair is very 
fresh and original. The third scene will require a strong lime- 
light for the moon; it is .a very pretty scene ; first one couple, 
then the other, strolling about. Krux, a detestable character, 
whom it would be a proof of real good-nature on the part of any 
one to undertake, tells Mrs. SutclifTe about Bella and Lord Beau- 



ANALYSIS OF PLAYS. 



157 



foy, and Bella is sent away in disgrace. There is a lapse of sis 
weeks between Acts III. and IY. Bella has disappeared from 
the school she was sent to— with Lord Beaufoy. It has been 
discovered that she is the long-lost grand-daughter of Mr. Farin- 
tosh. Lord Beaufoy appears and is overwhelmed with re- 
proaches, which he silences by introducing Bella as his bride. 

The story of Cinderella runs all through this comedy ; it com- 
mences by Bella relating the tale to the children, and it ends by 
Lord Beaufoy presenting his bride with a pair of glass slippers. 
Farintosh appears in the first act, an old made up beau; out in 
the last with silver hair, and dress appropriate to his age. The 
examination scene (Act II.) is very good. 



SCHOOL FOE SCANDAL * 



A Comedy in Five Acts, by Eichard Brinsley Sheridan. 

Time in representation, two hours and fifty minutes. Period, 1770. 

Act I. — Scene L — Drawing-room in LadySneerwell's house. Scene H. — 
room in Sir Peter Teazle's house. 

Act II. — Scene I. — Same as Act I. Scene II. Scene LT. — Drawing-room at 
Lady Sneerwell's. Scene III. — Same as Act I. Scene II. 

Act III. — Scene I. — Drawing-room at Sir Peter's. Scene II. — Hall in 
Charles Surface's house. Scene III. — Dining-room. 

Act IV. — Scene I. — Picture room. Scene II. — A parlor. Scene III. — A 
library at Joseph Surface's. 

Act V. — Scene I. — Same as Act IV. Scene III. Scene II. — Boom in 
Sir Peter Teazle's. Scene III. — The library. 



CHARACTERS. 



Sir Peter Teazle. 
Sir Oliver Surface. 
Sir Benjamin Backbite. 

Charles Surface, \ N n f*™ s 
Joseph Surface, ) Oltvter. 
Crabtree (Uncle of Sir Benjamin). 
Careless (a Friend of Charles 

Surface). 
Rowley (an old Retainer of the 

Surfaces'). 



Moses (Jewish Money-Lender), 
Snake. 

Trip (Charles' Valet), 

Sir Harry Bumper. 

Sir Toby. 

Four Servants. 

Lady Teazle. 

Mrs. Candour. 

Lady Sneerwell. 

Maria (Sir Peter' Ward), 

Lady Teazle's Maid. 



Costumes, of the 18th Century. 

Many people consider this to be the finest comedy in our 
language. It is hardly necessary to say that it requires a very 
strong company to cast it satisfactorily. Every one knows the 
plot. The school for scandal is composed of Lady Sneerwell, 
Mrs. Candour, Sir Benjamin Backbite, and Crabtree, who com- 



158 



ANALYSIS OF PLAYS. 



bines toadying his nephew with scand al-mongering. Lady Teazle 
sometimes joins the set, to the indignation of Sir Peter. Their 
quarrels are among the best scenes in the play. Sir Peter is old 
and jealous, and of a teasing temper; his wife, young and 
thoughtless, hut always good-humored and merry, is one of the 
most^charming characters on the stage. The contrast between 
the brothers Joseph and Charles Surface is very marked . Charles, 
the good-hearted scamp, who refuses to part with his uncle's 
portrait because he had been kind to him, to the delight of Sir 
Oliver, who is playing the part of a broker; and Joseph, a 
smooth-tongued hypocrite, most highly thought of by Sir Peter, 
till in the celebrated library scene he finds him making love to 
Lady Teazle. Careless, Sir Toby, and Sir Harry are Charles' 
gay companions ; the latter sings u Here's to the maiden of bash- 
ful fifteen." They have not much to do except Careless, who 
acts as auctioneer when Charles sells his ancestors. Maria is Sir 
Peter's ward, young and pretty ; Joseph wants to marry her for 
her money, at the same time that he is flirting with Sir Peter's 
wife. The play ends with the discovery of his double-dealing, 
the reconciliation of Sir Peter and Lady Teazle, and the wedding 
of Charles and Maria (who have been true to each other through- 
out), with the consent and blessing of the JSTabob, Sir Oliver. 
This play requires about nine good men, one first-class lady 
comedian, and three other ladies well used to acting. A good- 
sized stage is also absolutely necessary, and a great many more 
rehearsals than amateurs usually bestow on a play. 



THE SCHOOL FOR SCHEMING ; 
OR, LOTS AKD MOKEY.* 
A Comedy in Five Acts, by Dion Boucicault. 

Time in representation, two hours and fifty minutes. 

Act I. — Scene— The lodgings of Claude Plantaganet. 
Act II. — Scene — The same as Act I. 

Act III.— Scene — An elegantly furnished drawing-room in the house of 
Mrs. Fox French. 

Act IV.— Scene — Same as Act III., the furniture being disposed for a 
ball. 

Act IV.— Scene — The pier at Boulogne Sur Mer. 

CHARACTERS. 

Claude Plantaganet. Mrs. Fox French 

Lord Fipley, Helen. 

Sykes. Rose Lawless. 

M acdunnum . Baroness . 

Craven Acton. Lady Augusta, 



ANALYSIS OF PLAYS. 



159 



Williams. 



Withers. 



Matilda. 

Sally Singleheart. 
Mrs. Warren. 



COSTUMES. 



Claude Plantagenet. — Six modern suits. 

Lord Fipley. — Short blue monkey jacket, braided fancy waistcoat and 
trousers. Second dress, Drab monkey jacket, red and white plaid trousers, 
and white waist-coat. Last dress, A brown frock coat, trimmed with fur ; 
red satin waistcoat, trimmed Avith ditto ; and dark fancy trousers. 

Sykes. — Black coat and trousers, and white waistcoat. Second dress, A 
great coat. 

Macdunnum. — Shabby drab Chesterfield, dark trousers, and red comforter. 
Second dress, Drab monkey jacket, red and white plaid trousers, white 
waistcoat. Third dress, An evening dress. Last dress, An old puce color* 
ed coat, old black trousers, a short cape, white hat and black hat band. 

Craven Acton. — Blue frock coat, black trousers, and fancy waistcoat. 
Second dress, An evening dress. Last dress, A modern riding coat, fancy 
waistcoat and trousers. 

Withers. — Green Newmarket coat, plaid waistcoat, drab trousers, white 
hat. 

Williams. — Crimson fancy coat, white waistcoat, white breeches, and 
white wig. 

Mrs. Fox French.— Green satin dress. Second dress, A ball dress. Last 
dress, A fawn merino. 

Helen. — Ball dress. Second dress, A pink morning dress. Third dress, 
A dark habit. Fourth dress, Blue and white satin. Last dress, A black 
merino . 

Rose Lawless. — Bluede Laine dress. Second dress, Puce velvet. 

Baroness. — Blue and white silk dress. Second dress, Purple silk skirt, 
and black velvet spencer. 

Lady Augusta. — Scarlet merino dress. 

Matilda. — Brown merino dress. Second dress, S*triped silk. 

Sally Singleheart. — Colored de Laine dress. Second dress, Dark silk. 
Last dress, Red and white silk. 

Mrs. Warren. — Dark gown, bonnet and shawl. 

One of Mr. Boucicault's very excellent comedies, and a lively 
and effective satire on society. Claude Plantaganet is an aristo- 
cratic beggar, head-over-heels in debt. His daughter Helen has 
been educated at the fashionable school of Mrs. Fox French, with 
a view to retrieving the fortunes of her family by a brilliant mar- 
riage. Lord Fipley, heir to a dukedom, is a goodhearted young 
gentleman, with many waistecoats and few ideas. Craven Acton, 
a poor young man, is in love with Helen, and watched over by 
his unknown father, Sykes, who has risen from nothing to wealth 
and position. The Macdunnum— a " capitalist " — lives by his 
wits and the assistance of Sally Singleheart. They are all more 
or less schemers, and each sees his scheme fall into nothingness— 
with the exception of Sykes, who enacts the part of Providence. 
Helen, who really loves Craven Acton, becomes engaged to Fip- 
ley, but Fipley' s cousin, Rose, who is fond of him, pursuades him to 
run away with her to Gretna Green. Plantaganet and Mrs. French 
marry, each thinking that the other has money enough to pay his . 
and her debts. Macdunnum, raised to the surface by a bubble, 
deserts his Sally, but is soon cast down again. They all repent 



160 



ANALYSIS OF PLAYS. 



in dust and ashes, which is very nice but hardly true to nature. 
Then Providence, otherwise Sykes, now an M. P., steps in, de- 
clares himself to his son, and is received with open arms— pays 
the debts of Plantaganet and Mrs. French— now a happy Darby 
and Joan— reunites Helen and Craven, and all is happiness, with 
lenty of money, which is a nice thing after all. Sally rescues 
er impecunious but repentant Macdunnum and marries him. 



THE SCHOOL FOE TIGEKS ; 
OR, THE SHILLING HOP !* 
A Farce in One Act, by Mark Lemon. 

Time in representation, one Jwur and twenty minutes. Scene I. — The parlor of a 
public house. Scene II. — A large room at the back of a cigar shop. 



CHARACTERS. 

Captain Kiteflyer. ) ir/ ,,„ „ 7wv>(# 4 M 
Major Stiff. \ Men about town. 

Me. Panels (an ex-coachman, now Tobacconist and Proprietor of the Tiger 
Acad my and Dancing Room). 
Alexander Panels (his Son and Tiger to Kiteflyer). 
David [Tiger to Major Stiff). 
Mr. Firkins (a confiding Butterman). 

Tom Crop [late Errand Boy, now Tiger in Ordinary to Firkins). 
John Handsome, L. 1761 (a Policeman), 
Traces. ) 

Blinkers. [ Young Tigers, 

Eames. J 

Brush. 

Polish. 

Varnish. 

Mary Panels. 

No. 48 & 49 Cowbredge Square. 
No. 8, 10, 6 & 12 Upper Trumper Street. 
No. 8, 10, 11 & 12 Thissleton Terrace. 
Miss Jones, and 44 Little Ryder Street. 



COSTUMES. 

Capt. Kiteflyer. — Dark frock coat, light vest and trousers. 

Major Stiff. — Light drab coat, black trousers and white vest. 

Mr. Panels; — Nankeen breeches, long yellow vest, with white sleeves and 
back ; white stockings, and black shoes. 

Alexander Panels. — Black frock coat, yellow breeches, striped vest, and 
top boots. 

Tom Crop — Drab coat and breeches, red vest and large top boots. Very 
loose fitting altogether, he appears very gauche. 
The Tigers. — Liveries, but different colors. 

Mr Firkins. — Blue body coat, white vest, nankeen pantaloons and hat. 
John Handsome, L. 1761. — Policeman's dress. 
Mary Panels. — Muslin dress and silk apron. 
Ladies. — Modern dresses, shawls and bonnets. 



ANALYSIS OF PLAYS. 



161 



An amusing farce. Panel, a ci-devant coachman, keeps a to- 
bacconist's shop and a school for tigers. A specimen of his train- 
ing is given, and a servants' hop, which is all very funny. Tom 
Crop sustains the principal part and shows, in the stable language 
of Mr. Panel, that "though he's a rum 'un to look at, he's a good 
'un to go. " 



A SCKAP OF PAPER* 
A Comic Drama in Three Acts, by J. Palgrave Simpson.' 

Time in representation, two hours. Period, the present. 

Scene I. — Drawing-room, with glass door at back. 
Scene II, — Naturalist's room, rather like a museum. 
Scene HI. — Conservatory. 

CHARACTERS. 



Prospeb Couramont. 
Baron de la Glaciere. 
Brisemouche (Naturalist). 
Anatole (his Ward). 
Baptiste (Servant of the Baron). 
Francois (Servant of Prosper). 



Louise de la Glaciere. 
Mdlle. Susanne de Ruseville. 
Mathilde (Louise's Sister). 
Madlle. Zenobie( Brisemouche' s Sister), 
Mdame Dupont (Housekeeper). 
Pauline (Maid). 



Costumes, Modern. 

A very gracefully written play, adapted from the Frencn. There 
is another version of it, in which the characters have English 
names, and the plot is rather different. The stage has to be 
darkened gradually in Act II., and then, when a lamp is turned 
up, it grows light again. In the third scene there must be a stand 
of plants, behind which Anatole is hidden. The first four me.n 
and the first four ladies have all good parts. The scrap of paper 
is a love-letter, written in her girlhood by Louise to Prosper. He 
finds it some years after in their post-office, a statuette of Flora. 
Louise is now Baroness de la Glaciere, ana as her husband, though 
apparently cold, is really passionate and very jealous, she is in 
terror lest it should fall into his hands. It goes through a great 
many adventures, but at last it is happily burnt by Suzanne, the 
clever friend of the family, who wins a wager and Prosper 's heart 
at the same time. Mathilde is an ingenue-, Anatole, her boy-ad- 
mirer — a capital character; Brisemouche, a comic "old man;" 
and Zenobie, a spiteful old maid. 



162 



ANALYSIS OF PLATS. 



THE SENTINEL* 
A Musical Burletta in One Act, by J. M. Morton, 

Time in representation, one hour. Scene. — View of palace and gar dens .jwith 
sentry-box, in Berlin* 

CHARACTERS. 

King. Schlopfsen. 

Pbince. Linda. 

Baron. Officers, Soldiers, &c. 

COSTUMES. 

"King. — Dark blue military coat, in the style of Frederick the Great, the 
skirts turned up with red, two rows of brass buttons on breast ; star ; white 
small-clothes • high jack boots, and spurs ; small cocked hat ; powdered, 
long tail wig ; sword. 

Prince. — Light blue military coat, in the same style as the king's — white 
small-clothes ; high boots and spurs ; powdered wig ; cloak and hat, 

Baron. — Black velvet coat, trimmed with gold lace ; black satin small- 
clothes ; claret silk stockings ; shoes and buckles ; powdered wig and tail ; 
cocked hat. 

Officers. — Dark blue coats, faced with red, and trimmed with gold ; white 
small-clothes ; long boots and spurs ; powdered wigs ; cocked hats ; swords. 

Schloppsen. — White military coat, faced with blue, trimmed with red, 
long skirts; long white gaiters over knees, black strap round knee; cross belt; 
long sugar loaf cap, with red cockade at top ; white great coat, trimmed with, 
black straps, black collar ; powdered wig and tail. 

Soldiers. — The same. 

Linda.— Red petticoat ; black velvet bodice ; white apron. 

This is a good burletta with some very pretty music in it and 
not too much of it. King Frederick Wilhelm of Prussia, an iras- 
cible old tyrant, is incensed with his son, Prince Frederick, for 
refusing to marry the Princess Elisabeth, of Brunswick, whom 
he has never seen. He therefore imprisons him in the fortress of 
Bucholtz, but Frederick succeeds in escaping and forms the auda- 
cious design of penetrating into the Royal Palace itself, in order 
to see the ]ady whom he has rejected. The King learning this 
fact, causes every entrance to be strictly guarded, and visits in 
person all the posts, the moss important of which is guarded by 
one Schioppsen, son of a man who had saved the King's life in 
battle. But Schioppsen, though faithful, is in love, and his sweet- 
heart persuades him to leave his post just long enough to persuade 
her father to consent to their union, she mounting guard in his 
place. Prince Frederick manages to elude this feminine sentry and 
climbs over the wail. The King, on his rounds, detects her and 
mounts guard in her place, when Schioppsen returning they have an 
amusing scene, and Frederick having meanwhile gotten a sight 
of the Princess Elisabeth, changes his mind and comes to make 
his submission to the King, which so delights that amiable old 
gentleman that he forgives Schioppsen and consents to his mar- 
riage. The characters are all good and the dialogue amusing. 



ANALYSIS OF PLAYS, 



168 



A SIGN OF AFFECTION ; 

OR, THE HEX AKD CHICKENS. 
A Comio Drama in Two Acts, by B, Webster, Jr. 

Time in representation, one hour and fori y-five minutes. Scene. — A hand- 
somely farnishtd room. 

CHARACTERS. 

Alfred Casby. Servant. 

Mr, Soft Sawderley. Mrs. Soft SawdErley. 

Tom Hof£ Sawderlf.y, Angelina. 

James, Prinks, 

COSTUMES. 

Alfred Casby. — First ) dress, Black frock coat, light waistcoat, and trousers. 

Second dress, Black dress coat and trousers, and waistcoat. 
Mr. Soft Sawdeeley. — Blue coat, light trousers and waistcoat. 
Tom Soft Sawi>ei*ley. — Midshipman's dress. 

James . — White livery coat and waistcoat, and blue plush breeches. 
Servant. — Same as James. 

Mrs Soft Sawderley. — Walking dress, bonnet, and mantle. 

Angelina. — First d e s, Morning dress. Secon l dress. Light figured silk 
clress, trimmed with mauve. Third dress. Same as hrst, bonnet and lace 
shawl. 

Prines. — Smart muslin dress and cap. 

Cash j has married an only daughter and promised neYer to 
separate her from her fond parents. The}?" aii live together and 
Casby can never get a word alone with his wife. His mother-in- 
law is scrupulously kind though, and gives him nothing to take 
hold of. But her interference becomes unbearable, and he takes 
a house elsewhere and goes to it, hoping that his wife will follow. 
She does follow in order to reproach him, but falls in love with 
the house, and they are getting along nicely, when the mother- 
in-law arrives, bent on getting her daughter back again, and she 
nearly succeeds, when her son Tom comes to the rescue, accom- 
panied by a mysterious parcel. It seems Tom has been a married 
man sub rosa,"m(l is now a widower, with a small responsibility, 
four months old. Its name is Avanlda, and when its grandma 
Las been induced to forgive her son and take a look at it, she 
takes a new departure; fends in Avariida all that she wants to 
fuss and fidget over, and departs consoled and even happy, leav- 
ing the Casby s in peace. There is plenty of comic business, and 
James— the gentlemen's gentleman — is a first-rate specimen of a 
flunkey and a good part. 



164 



ANALYSIS OF PLAYS. 



THE SILENT PROTECTOR* 



A Farce in One Act, by T. J. Williams. 



Time in representation, forty minutes. Period, the present. 



Scene, a drawing-room, with a practicable window. 



CHARACTERS. 



CjUENTIN QjUICKFIDGET. 

Nat Nobblee (a Sheriff's Officer). 
Me. Twaddleton Lisp (a Swell). 



Lilian Geay. 

Nancy Slyboots (her Maid}. 



Costumes, Moderi*. 



The silent protector is the portrait of a young man, which 
Lilian allows £Tancy, and others, to believe is the portrait of her 
husband. She is really not married. Quickfidget enters through 
the window, pursued by Nobbier, and is much surprised to find a 
portrait of himself, alluded to as the picture of Lilian's husband. 
The plot is about as probable as most farces are ; but some of the 
situations are comic. Quickfidget is a light comedian — a "patter 
part ; Nobbier, a very low comedian ; Lisp, the usual languid 
swell, who cannot say his r's. Yery few properties are required. 



A Comedy in Five Acts, by Oliver Goldsmith. 

Time in representation, about two hours and a half. Period, 1770. 

Act I. — Scene I. — A chamber in an old-fashioned house (Me. Haedcastle's). 
Scene II. — An ale-house room. 
Act II., Act III. and Act IV. — Same as Act I. Scene I. 

Act V. — Scene I. — Same as Act I. Scene I. Scene II. — Country lane behind 
Hie garden. Scene III. — Same as Act I. Scene I. 



SHE STOOPS TO CONQUER* 



CHARACTERS. 



Sie Charles Maelow. 
Young Maelow {his Son). 
Mr. Hardcastle. 
Hastings. 

Tony Lumpkin (Haedcastle's Step- 



Landlord and Country Bump- 
kins. 



son). 

Piggoey, and two other servants. 



Mes. Hardcastle. 
Miss Hardcastle. 
Miss Neville. 
Maid. 



Costumes, of the 18th century. 



ANALYSIS OF PLAY. 



165 



Every one knows this excellent old comedy, which has one 
good point found in few old comedies — the small amount of scene- 
shifting required. There are only three scenes, two of which are 
ordinary interiors. The characters are Mr. Hardcastle and Sir 
Charles Marlow, old men — the latter has only a few words ; his 
son, and Hastings, light comedians - good parts: and Tony Lump- 
kin, a capital part for a low comedian. Mrs. Hardcastle, an old 
woman, vain and silly, with a good deal to do ; her daughter and 
Constance Seville, lady comedians : the maid scarcely speaks. 
Tony is the character of the piece. He has to sing a song. Out of 
mischief he sends 3 r oung Marlow and his friend Hastings on to the 
house of his step-father, Mr. Hardcastle, telling them it is an inn. 
The young men behave accordingly, to the astonishment and dis- 
gust of the old gentleman, who thinks the modesty of his proposed 
son-in-law is uncommonly like old-fashioned impudence. Marlow 
is extremely diffident with his equals, with his inferiors he is free 
and easy enough. In his interview with Miss Hardcastle he can- 
not find a word to say, and dares not look at her. She discovers 
his mistake in taking the house for an inn, and carries on the 
joke by appearing as the barmaid, when he has no difficulty in 
looking her in the face, and finding her very pretty he falls in 
love with her. Mrs. Hardcastle wishes to make up a match be- 
tween her precious Tony and Miss Neville, both of whom have 
other views. Tony is so relieved to be out of the affair that he 
assists the lady to elope with Hastings. Tony is not formed for 
a diplomatist : he always makes some stupid mistake, and gets 
abuse from every one. Diggory, the landlord, and the servants, 
have only a few words. This play is remarkably easy to get up, 
and is well suited to amateurs, none of the characters requiring 
extraordinary powers. Young Marlow, Miss Hardcastle, and 
Tony are the^ best parts. 



Colonel Percy Kirke (rf ' 'Ejrke's John Zoyland {a Locksmith) . 

Lambs"). 

Colonel Lord Churchill. 



A SHEEP IN WOLF'S CLOTHING * 
A Drama in One Act, by Tom Taylor. 

Time in representation, one hour. Period, the autumn c/1685. 
Scene, a room hung with tapestry. 



CHARACTERS. 




Costumes.— Time of James II. 



166 



ANALYSIS OF PLAYS. 



Jasper Carew, a follower of Monmouth, is in hiding in his 

own house after the battle of Sedgernoor. He is supposed to be 
dead, and his wife, to encourage the idea and insure her husband's 
safety, allows Colonel Kirke to believe that she is willing to many 
him. There must be a practicable cupboard with a false back in 
the room, concealed in which Jasper overhears these love scenes, 
and finds them rather trying to his patience, though he has every 
confidence in his vdfe. The play is most interesting, and at times 
exciting, especially when Colonel Kirke discovers Jasper and orders 
him to be shot at once. Lord Churchill interposes just in time. 
Sibyl is a very pretty part for a little girl of six or seven. Kester 
and Keziah are comic Somersetshire servants ; the other parts are 
very slight ones , but the swaggering and ferocious Kirke, brave 
Anne Carew and her husband, all require good acting, and the 
two last must be pathetic. 



A SILENT WOMAN * 
A Farce tn One Act, by T. H. Lacy. 

Time in representation, thirty-Jive minutes. Period, the present. Scene, a 
drawing-room. 

CHARACTERS. 

Marianne Sandford (Me. Sand- 
ford's Daughter). 

Costumes, Modern. 

Mr. Merton (engaged to Marianne) mentions in a letter to her 
father his regret that she is so fond of talking ; he likes a silent 
woman. The letter falls into Marianne's hands, and she deter- 
mines to assume the role. It is a very slight little piece, almost 
like a charade, and might be got up in a few hours. It is sup- 
posed to take thirty-five minutes in performance, but I think lew 
amateurs would expend more than twenty minutes over it, 
as the action of the beginning of the play is quick, though the 
shouting scene is slow. ISTo scenery and no properties, except 
tablets, an ear-trumpet, a bell, and a letter. 



Mr. Sandford. 
Arthur Merton. 



ANALYSIS OF PL ATS. 



167 



SILVER LINING. 



A Comedy in Three Acts, by Leicester Buckingham. 

Time in representation, two hours and a quarter. Period, the present. 

Scene I. — A drawing-room. 

Scene II.— Lawn in front p/Merivaee's house. 

Scene III. — A drawing-room. 



CHARACTERS. 

Arthur Merivale. Mes. Doeeington. 

Frank Faerleigh. Mes. Maker avers. 

Major Eversley. Dora Merivale (Arthur's Sister). 

Chester. Hester. 

Helen Maetravers. 

The action of the piece extends over two years. 
Costumes, Modern. 



A play remarkably easy to get up and well suited to amateurs; 
its length is its only objection. Mrs. Dorrington is a bustling, » 
genial woman, every one's friend. Hester has only a few words 
in the first act, and Chester and Eversley in the second ; all the 
other parts are good. Merivale is a cynical young man, who 
marries Helen and makes her miserable ; Fairleigh takes a sunny 
view of life, and is a good light comedian's part — one of Charles 
Mathews' ; Dora is a little ingenue, engaged to Frank; they have 
some capital scenes ; Helen requires a really good actress to de- 
velop a character at first tender and loving," then hard and cyni- 
cal like her husband's; some passages are almost tragic. The 
plot is interesting and natural, and the language is remarkably 
good. There are hardly any properties and no difficulties of stage 
management, it is one of those plays that depend entirely on 
good acting. 



A SINGLE LIFE.* 



A Comedy in Three Acts, by J. B. Buckstone. 



Time in representation, two hours. 
Act I— Scene.— An apartment at Mr. Niggle's. 

Act II.— Scene I.— interior of a n at cottage. Scene II.— A room at Miss 
Snare's. Scene III.— A large room at Miss Snare's. 

Act III. — scene I. — The cottage— same as Act II., Scene I. Scene LI.— An 
inn parlor. Scene HI.— An apartment at Mtks Snare's. Scene IY.—An ele- 
gant apartment at the manor -house. 



168 



ANALYSIS OF PLAYS. 



CHARACTERS. 

BACHELORS. 

Mr. John Niggle (a fluctuating Bachelor). 
Mr. David Damper (a woman-hating Bachelor). 
Mr. Peter Pinkey (a bashful Bachelor). 
Mr. Narcissus Boss (a self-loving Bachelor). 
Mr. Charles Chester (a mysterious Bachelor). 

SPINSTERS. 

Miss Caroline Coy (a villified Spinster). 
Miss Maria Macaw [a man-haling Spinster). 
Miss Kitty Skylark (a singing Spinster). 
Miss Sarah Snare (an insinuating Spinster). 
Miss Jessy Meadows (a romantic Spinster). 

COSTUMES. 

Mr. John Niggle.— Light drab coat, white waistcoat, nankeen pantaloons, 
white stockings, shoes, white wig, tied in a tail ; white hat. 

Mr. David Damper. — Brown coat with black horn buttons, old-fashioned, 
dark-figured, silk waistcoat ; black pantaloons, Hessian boots, iron-grey 
wig.broad-brinimed hat. 

Mr. Peter Pinkey.— Lavender-colored coat, white waistcoat, white trous- 
ers, pink socks, pumps, pink silk neckerchief, pink gloves, pink watch 
^ribbon, low-crowned hat and cane, flaxen, fashionably-dressed-wig. 

Mr. Narcissus Boss. — Fashionable chocolate-colored Newmarket coat, 
with roses in the button-hole ; elegantly-flowered waistcoat, light drab 
French trousers, with boots ; light blue cravat, exquisitely tied ; frilled 
shirt, hat, and waistband a la D'Orsay, and the hair dressed in the first 
style of elegance. 

Mr. Charles Chester. — Dark frock coat, silk waistcoat, light trousers, 
French gaiters and shoes, round hat. 

Miss Caroline Coy. — Grey silk dress, lace shawl and white ribbons, white 
satin bonnet, flowers, long yellow gloves, white reticule. 

Miss Maria Macaw.— Green silk open dress, white petticoat, figured satin 
large apron, lace handkerchief, close lace cap and white ribbons, fan, and 
black-rimmed spectacles. 

Miss Kitty Skylark.— First dress, White muslin pelissee over blue, chip 
hat and flowers. Second dress, Pink satin and blond flounces. 

Miss Sarah Snare. — First dress, White muslin petticoat, black velvet 
spencer, pink salin high-crowned bonnet and green feathers. Second dress, 
Green satin and pink ribbons, black wig dressed in high French bows. 

Miss Jessy Meadows. — First dress, White muslin dress, mittens. Second 
dress [in the last scene), White lace over white satin, with roses. 

One of the best of comedies, and presents no difficulties of 
scenery. It is particular]y well adapted for a good amateur 
company— the parts being all excellent and evenly divided; and 
the dialogue most amusing. There are five bachelors, of all 
ages — Mr. Niggle, who fluctuates ; Mr. Damper, a woman- 
hater; Mr. Pinkey, painfully bashful; Mr. Boss, devoured by 
self-conceit ; and Mr. Chester, interesting and mysterious. There 
are five spinsters of all ages— Miss Coy, who is traduced ; Miss 
Macaw, who is a man-hater ; Miss Skylark, a singing spinster; 
Miss Snare, a flattering spinster ; and Miss Meadows, interesting 
and romantic. The play deals with the loves, suspicions and 



ANALYSIS OP PLAYS. 



169 



quarrels of the ten, who finally wrangle themselves into a gen- 
eral state of harmony. The tableaux are very funny, and the 
piece, if well done, will keep the audience in a roar from begin- 
ning to end. 



SIR DAGOBERT AND THE DRAGON. 

A Romantic Extravaganza in Four Acts, 

BY F. C BURNAND. 

Time in representation, one hour and thirty minutes. Period, " Once upon a 

time," 

Act I. — Scene — Palace arches backed by a chamber in the palace o/Ktng Lol- 
lipop. 

Act II. — Scene — Exterior of the Dragon's abode, r., with door in it. 
Act III. — Scene — Interior of Dragon's cottage. 

Act IV. — Scene — Audience chamber in the palace of King Lollipop. Same 
as Act I. 

CHARACTERS. 

King Lollipop (Monarch of Sugar Candia). 
Tuftee (Sugar Stick in Waiting). 

Toadee (Chief of Police at Sugar Candia, or BulVs Eye in Attendance), 
Sir Dagobert ( Who represents the chivalry of France). 
The Dragon (A Star in the Provinces, i.e., A Roarer), 
Zara (Princess of Sugar Candia). 
Courtiers (admitting any number of people). 

COSTUMES. 

The costumes are not difficult to manage. Zara, the Princess, needs no 
hint from us. 

Sir Dagobert will be in a suit of mail. If played by one of the sterner sex, 
he will, of course, be in a suit of Male, as usual, but let him not. for the 
sake of the pun, come dressed as a postman, in order to give his reading of 
a suit of Mail Why, he might as well appear in "Mail bags" for panta- 
loons. A cleanly saucepan makes a first-rate helmet ; dish-covers before 
now have served for breast-plates ; and the spear and shield can be supplied 
from the bright and shining stock of kitchen utensils. But. if this hint be 
taken, let not the performer, so clad, forget that he is Sir Dagobert, not 
Captain Cook. 

The Dragon's dress is easily manufactured. Glazed calico lining, tinsel, 
and spangles. Eedoesn t require horns, but bugles will be an improvement. 
Give him a tail if possible ; if you can't do this, console yourself with the 
reflection that he is a Dragon, and not a Kite, and some one may reply, if 
he's very funny, " Kite so." 

Where Sugar Candia is, we do not exactly know. Longitude uncertain. 
But any amount of latitude will be allowed to the scenic artists by the 
good-humored Christmas audience with which we have to deal. 

This extravaganza is well suited for a good-natured Christmas 
audience. It is in four acts and as many tableaux as can get out 
of and into the four acts. Sir Dagobert was a French knight, and 
when the Dragon came and ate up the Prince, and stole away 



170 



ANALYSIS OF PLAYS. 



Zara, Xing Lollipop's daughter, Sir Dagobert slew him and mar- 
ried the Princess. As to the knight's costume, a cleanly sauce- 
pan makes a first-rate helmet ; dish covers have before now served 
for breast-plates ; and the spear and shield can be supplied from 
the bright and shining stock of kitchen utensils. 



SIX MONTHS AGO.* 
A Comedietta in One Act, by Felix Dale. 

Time in performance, half an hour. Period, the present. Scene, a drawing- 
room. 

CHARACTERS. 

Edwin Bliss. 

Jack Deedes (his Friend and Law- Angellna Bliss (his Wife), 

yer). 

Costumes, Modern. 

The young couple have been married sis months, and Edwin 
is extremely bored by his bliss, and welcomes the advent of Jack 
Deedes with effusion. He confides to Jack his opinion of matri- 
mony with considerable force. Angelina from behind the door 
overhears this treason, and some allusion to an Anastasia, a 
former load-star, which causes her to consult Mr. Deedes about 
getting a divorce. He tells her it will be necessary to prove 
cruelty; and she tries, by a series of amusing expedients, to 
make Edwin box her ears. The ending is very good, and it is 
altogether a bright little piece, only requiring to be acted briskly. 
Remarkably easy to get up, aud just the thing for a back draw- 
ing-room after a couple of wet days. 



A SLIGHT MISTAKE, 
A Comedy in One Act, by Emile Sotjvestre. 

Time in represzntation, forty minutes. Scene, interior of village inn. 
CHARACTERS. 

Lady Prince Proudly. Rosina (her Cousin). 

Sarsnet (her Maid). Dorothy (Penelope's faithful Do- 

Penelope Perfect (Landlady of a mestic). 
Village Inn). 

COSTUMES. 

Lady Proudly. — Extravagantly fashionable traveling dress. 
Sarsnet. — Neat merino dress, bonnet and shawl. 



ANALYSIS OF PLATS. 



171 



Penelope. — Silk dress, apron and cap. 
Rosina.— Figured muslin dress, apron. 

Dorothy.— Old-fashioned high cap, spectacles, grey hair, handkerchief, 
chintz pattern dress, large apron. 

Yery good for a school— a pleasing little comedy. Miss Pene- 
lope Perfect, who prides herself on being a philosopher, hears 
that she has won a prize in a German lottery and become a 
baroness. Her philosophy takes flight and she is only brought 
to her senses by the discovery that she has made a slight mis- 
take, and taken number ninety-nine for number sixty-six, and is 
not a baroness at all. 



SNAPPING TURTLES.* 
A Farce in One Act, by John B. Buckstone. 

Time in representation, one hour, Period, the present. Scene, a drawing- 
room. 

CHARACTERS. 

Mb. Timothy Timms. Mrs. Matilda Timms. 

Costumes, Modern. 

Each of these persons assumes two other characters. The 
gentleman appears as Miss Arabella Dieaway and Sober Sam ; 
the lady as Mr. Pipkins Yaw-yaw and Mrs. O'Blarney. There 
are several songs for the latter. It is, of course, a considerable 
strain to have to assume so many characters and to dress so 
quickly: but, when well done, " Snapping Turtles" is very 
laughable, and is sure to be appreciated. It can be got up in 
any ordinary back drawing-room, and would give trouble to no 
one but the two people concerned. 



A SOLDIEB OF FOKTUNE. 
A Comedy-Drama in Five Acts, by Warren J. Bries. 

Time in representation, two hours and twenty minutes. 

Act I. — Scene. — Parlor in the Belmont mansion. 
. Act II. — Scene I. and III. — Same as Act I. Scene II. — Library in the 
Belmont mansion. 

Act III. -Scene I.— Interior of a, doctor's office. Scene II.— Same as 
Act I. 

Act IV. — Scene I. — Grounds surrounding the Belmont mansion. (A parlor 
scene can be substituted for this if it is more convenient}. Scene II. — A wood,. 
Act V. — Scene. — Same as Act L 



172 



ANALYSIS OF PLATS. 



CHAKACTERS. 



Colonel Fitznoodle. 

Mr. Patroni. 
Mr. Belmont. 
Cyril Clifford. 
Dr. Fargo. 
Freddie Belmont. 



Snowball. 

Barney. 

Miss Agnes Belmont. 
Miss Ida Lovewell. 
Miss Priscilla. 



COSTUMES. 



Colonel Fitznoodle. — Uniform of Colonel in U. S. Army, full dress, with 

sword ; brown wig, sandy moustache and long sandy side- whiskers ; eye- 
glasses to clasp over nose. In Act III., Scene II., he must have on a very 
bald, iron-grey wig, securely fastened, and over it his brown wig. 

Mr. Patroni. — Black wig of wavy hair, combed over his ears, and reach- 
ing down to the collar of his coat; long jet-black moustache ; much 
jewelry ; mak*e-up rich. 

Mr. Belmont. — Business suit. In Act V. dress suit, neat wig and beard — 
iron grey ; age about fifty. 

Cyril Clifford. — Fashionable dress. Soft hat in Act III., Scene I. Blonde 
wig and beard. 

Dr. Fargo. — Business suit. In Act V. dress suit ; wig and beard brown. 

Freddie Belmont. — Neatly-dressed boy of ten or twelve years of age, 
prominent watch chain. In Act I. he wears an old hat. 

Snowball — Black trousers, white vest, swallow-tail coat, high stand- 
ing collar, gaudy tie, white hat, very large shoes, huge watch chain, large 
watch case with no works, large glass pin ; negro wig, blackened face and 
hands. 

Barney. — Laborer's dress, very plain ; red wig. 

Agnes Belmont. — Neat summer dress. In Act V. elegant reception toilet; 
auburn wig. 

Ida Lovewell. — First dress, Traveling suit of grey or brown. Second 
dress, Neat morning dress. Third dress (Act V.), evening dress ; dark wig. 

Miss Priscilla. — A lady of forty dressed like one of twenty ; her make-up 
must not disguise the fact that she is an elderly spinster. 

Mr. Belmont, a banker of great reputed wealth, is in reality in 
the midst of serious difficulties aud threatened with bankruptcy. 
The fortune of his ward, Cyril Clifford, has also become involved. 
Mr. B. hopes, by marrying his daughter Agnes to Cyril, to 
escape having to render an account. Agnes, however, loves 
Dr.* Fargo, and Cyril loves Ida Lovewell, the niece of Mr. Bel- 
mont, who has just come to visit the family, accompanied by 
Mr. Patroni, who is an adventurer and a villain. Colonel Fitz- 
noodle, the Soldier of Fortune, is a worthy and amusing hum- 
bug, who is always recounting his imaginary exploits. This 
piece is excellent for those who prefer melo-dramatic effects. It 
abounds in sudden blows, pistol shots, thunder and lightning, 
etc. Patroni robs Belmont's safe at midnight, slanders the 
doctor to Agnes, whom he wishes to marry, lays a powder mine 
for the destruction of several of the characters, fights a duel and 
shoots right and left at everybody. Through the exertions of 
the colonel, he is exposed, and is then just about to kill Cyril 
when a thunderbolt comes to the rescue and dispatches him. 
Mr. Belmont's fortune takes a sudden turn, and all ends happily. 
Characters very well adapted for amateur acting, and all good. 



ANALYSIS OF PLAYS. 



173 



Snowball is a good negro part, and Fred, a naughty boy, who 
is always playing practical jokes, has a great deal to do. 



SPEED THE PLOUGH. 
A Drama in Five Acts, by Thomas Morton. 

Time in performance, about two hours. Period, the beginning of this century. 
Act I. — Scene I. — Parle gates : part of farmhouse. 

Act II. — Scene I. — Same as Act I. Scene I. Scene II.— Interior of farm- 
house. 

Act III. — Scene I. — Same as Acts II. Scene {II. Scene II. — View, with 

plough el field. Tent. 

Act IV. — Scene I.— Grounds of the castle. 

Act V.— Scene I.— Interior of farmhouse. Scene II. — Grounds of the 
castle. 

CHARACTERS. 



Bin Abel Handy. 
Bob Handy {his Son). 
Siri Philip Blandfobd. 
Fabmeb Ashfield. 
Heney. 

Mobbing ton (Henby's Father). 
Gebald. 

evebgbeen, john, and ralph 
(Servants). 



Peasantby. 
Lady Handy. 

Miss Blandfobd( Sib Philip's 
Daughter). 

Dame Ashfield. 

Susan Ashfield (her Daugh- 
ter), 



The costumes may be of the 18th century, or beginning of 19th. 

From this play the celebrated saying, ""What will Mrs. 
Grundy say V took its origin. Farmer Ashfield, Sir Abel, and 
Bob Handy are very good characters, the others walking gentle- 
men. The play is a good deal spoilt by Henry, the hero, coming 
so decidedly under this category ; he has very little to say, but 
that little is stilted and absurd to the last degree. The ladies 
have all well -contrasted parts : the old dame is a very good 
character; Lady Handy is a shrew; Sir Abel has a mania for 
inventing all sorts of things, among others a wonderful plow, 
with which Bob does not win the plowing match. Bob is a 
capital character, thinks he can do everything — teaches the 
dame to make lace amongst others. He is engaged to Miss 
Blandford, but in love with Susan. Part of the plot might have 
to be slightly altered, or suppressed. There are only four differ- 
ent scenes — no difficulties in stage management. The scenes 
may be made pretty, especially Act III. Scene II., where the 
peasants come in. The chief objection to the play is the num- 
ber of actors required ; some of them only come on just at the 
beginning and at the end. Morrington turns out to be Henry's 
father, and Gerald Lady Handy's first husband— a happy release 



174 



ANALYSIS OF PLATS, 



for Sir Abel Farmer Ashneld is a eharaeter part which it would 
take a really good actor to render : Bob Handy, a light comedian ; 
Sir Abel, comic old man: and Sir Philip Biandford, a tragedian, 



THE STAGE-STRUCK YANKEE * 
A Farce or 0>'E Act, by 0. E. Duriyage, 

Time in representation, forty-six minutes. 



Scene I. — A rc 
Scene U.—A r 

BCEXE III. — A 



DOUGLAS 

Captain ( 
Cuetis C: 

RlCHABD 

Miss Fan 

JeDEDaH 



si foul jfrr fAree. 
i [front scene). 



CHARACTERS. 



•eUng Manager) . 

%in tf Militia and Selectmen) . 

I awestruck). 

n Actress). 



Douglas Double. — Ecu' 
pants and black gaiters : 1 

Captaxn Chunk.— Frencl 
and black stock ; gray head 
^Cuetis Chunk.— Lc eg ta 



Jededah.— L':.: I 
frl4y k fill I S3 A* J. bmu*;!ai 



C0STT3IES. 

breasted Line bedy coat; check vest ; gray 

ay trousers ; dark coat and vest; black hat 

Irab coat ; showy vest ; red, white and blue 
fancy cravat j long flaxen wig and large 

dress, Mxislin. Second dress, Flowered tuck- 
ron ; thick slices ; red wig, part in papers. 

i frock ; printed cotton pinafore ; high comb ; 



An extremely fanny farce. uery popular, and reqniring bnt 
-!tpp scenes. The hninor is somewhat coarse bnt can easily be 

ly for the first time, in a 
nts like a Innatic. and dis- 
emating Miss Fanny Mag- 
geney, appeals to the lady, 
tallages to disenchant Cm> 
t. This piece elicits roars 
;diaiu 



three scenes, 
to 
cc 
ca 



ed, Jeciidah. tor the : 
Hi^ father. ::: this en 



tis. ana api 
of laughter 



ANALYSIS OF PLAYS. 



175 



SWEETHEARTS.* 
A Comedietta Jn Two Acts, ey "VT. S. Gilbert. 

Tim t:t > ;cn*cr.i',n . ~b <ii on hour. Period, first, 1S14, zet'md, 1874. 

Scene T. — Garden of a villa ; fhrubs are small, Ft r$in ia-creepc r only begin- 
ning to gr"\n ; open -count y in (he distance. 

Scene tL-t-The same, but Vie shrubs are grown, the trees large, Vie houzt 
covered wilh Yirgmxa-creepcr; town in lif. di iance. 

A period of tlariy years elapses between Act I. and Act II. 
CHARACTERS. 

HAEEY SPBEADBEOW. MlSS JEK>-Y yOETHCOTT- 

'VVlLCOX . a Gardener). Ruth | k t r Sf a id servant). 

Costumes, Modern. 

TTllcox is discovered seated ou a wheelbarrow, preparing bass 
for tying up plants. He discourses with the freedom of an old 
servant to his young mistress about master Harry's good quali- 
ties ; Jennie rather dissenting than otherwise. Harry presently 
appeal's ; he has come to say good-bye, as he is on the point of 
starting for India. Having got rid of Wilcox, they proceed to 
plant a little sycamore, and exchange flowers and vows. Harry 
swears never to part with his mignonette : Jenny throws her rose 
carelessly down on a table. Harry takes a tender and sentimen- 
tal farewell; Jenny answers half in jest, half earnest. He swears 
to l)e true for ever ; she promise* nothing, but is true. The sec- 
ond act is thirty year- later. Sir Henry comes back from India. 
He has a fancy to revisit his former haunts, and comes to the 
villa to find the house and village quite altered. He is very 
much surprised to find Miss Xorthcott -unmarried; he had for- 
gotten all about his vows years before : he does not even remem- 
ber her name correctly. He owns to having flirted with another 
lady before he got to the Red Sea, and does not know what 
became of her mignonette; in fact, ho thinks she gave him a 
sprig of geranium. She shows his rose, with which she has 
never parted. The sycamore sapling has become a large tree, 
the boughs of which roof in the stage. The leaves are autum- 
nal ; in the first act they are just coming out— a fact to be re- 
membered in painting the Virginia-creeper. The scenery of this 
*• contrast,' " as Air. Gilbert calls it. is somewhat difficult ; other- 
wise this play is very well suited to amateurs. Of course, Jenny 
and Harry must be really good, and must be made up well as 
old people in the second act. Ruth has only a line part. Noth- 
ing can be more gracefully written than this play. The airs of 
" L ve'.s Young Dream.' : ''j^Sweethearts," and "John Anderson, 
my Jo.' ; are introduced, \\ here the scenery can be managed, 
a better play than this could not be selected for a small com- 
pany. 



176 



ANALYSIS OF PLAYS, 



THAT DKEADFUL DOCTOR 

A COMEDETTA IN ONE ACT, BY SlR CHARLES L. TOUNG. 

Time in representation, forty minutes. Scene, library in Edmund Beau- 
champ's house. 

CHARACTERS. 

Edmund Beauchamp. Mbs. Beauchamp. Db. Mabs. 

Costumes, Modern. 

Edmund Beauchamp, a young but selfish husband, is extra- 
vagantly fond of hunting, to which his wife objects, as it takes 
him so much from home. The matter becoming a bone of con- 
tention, each writes a note to their mutual friend, Br. Mars, beg- 
ging him to come and help them out of their difficulties. Dr. 
Mars does come, and by his judicious and laughable management 
of the pair, bring them both to a more reasonable frame of mind. 
A very good comedietta. 



THOSE "CUSSED" WAVES. 
A Monologue. 

Time in representation, fifteen minutes. Scene. — Beck of a channel steamer. 

CHARACTER. 
Jeremiah Poppletwiggy. 

Costume, A Traveling Dress. 

Mr. Jeremiah Poppletwiggy is traveling for pleasure, and 
crosses the English Channel. He thinks it all nonsense that 
people should be seasick, he fights bravely against it, but at last 
succumbs. His efforts are very amusing. The scenery can be 
left largely to the imagination of the audience. 



ANALYSIS OF PLAYS. 



177 



THOUGHTS BEFORE MARRIAGE.* 

A Monologue in One Act. 

Time in representation, fifteen minutes. Scene, a bed-room, 

CHARACTER. 
Marie. 

Costume, Modern. 

This little monologue, requiring but one scene, purports to be 
the spoken thoughts of a young demoiselle on the eve of her mar- 
riage. Her girlish hopes and fears, on the verge of an untried 
experience, are at once pathetic and entertaining. jSTone but a 
sprightly and engaging actress should undertake this part. 



THE THREE GROCERS; 
OR, HOBBS, DOBBS, AKD STUBBS.* 
A Comedy in Two Acts, by B. Webster. 

Time in representation, forty-Jive minutes. 

Act I. — Scene I. — The inside of a grocer's warehouse. Scene LT. — A chamber 
at Mr. Dobbs'. 
Act II. — Scene. — A chamber in Jeremiah's house. 



Hobbs. 

Dobbs. 

Stubbs. 

Valentine. 

Jeremiah. 



CHARACTERS. 



Mrs. Hobbs. 
Mrs. Dobbs. 
Mrs. Stubbs. 
Rose. 
Jane. 



COSTUMES. 

Hobbs. — First dress, Around brown jacket, a colored waistcoat, light grey 
trousers and fur cap. Second dress, Black long-waisted coat, white waist- 
coat, trousers as before, and low-crowned hat. 

Dobbs. — Light drab coat, white waistcoat, drab small clothes, top boots, 
and white hat. 

Stubbs. — Blue coat, yellow waistcoat, and blue trousers. 

Valentine. — Brown coat, colored waistcoat, light trousers, and apron. 

Jeremlah. — Green jacket, colored waistcoat and trousers, brown paper 
cap, and white apron. 

Mrs. Hobbs.— Grey silk dress. 

Mrs. Dobbs. — Black silk dress. 

Mrs, Stubbs. — A colored chalis. 

Rose. — Same as Mrs. Stubbs. 

Jane.— Servant maid s dress. 



178 



ANALYSIS OP PLAYS. 



A comedy in two acts, with a great deal of fun iv it. Hobbs, 
Dobbs and Stubbs are the three grocers. In their service is 
Jeremiah, a good fellow, and Yalentine, a sort of gay Lothario 
of a grocer's clerk. He makes love to ail three of the wives, all 

the characters get mixed up in an almost inextricable snarl. 
Finally Valentine's villainy is discovered, and the three enraged 
husbands are restored to their original serenity. 



THE THEEE TEMPTATIONS. 

A Burlesque in One Act. 

Time in representation, one hour. 

Scene I. — Banqueting- 1 ! oil i i the palace of King Arthur, Pendragon Castle. 

Scene II. — Stonehe 7 ge fy sunset, and Mrr:in's cav\ 
Scene III. — The attic of Sir Lionel on the third fioor bade. 
Scene IV.— The Goblin Glade in the Wood of Wonders. 
Scene V, — A dangrous path in the Forest of Temptations. 
Scene VI. — A v<ry great Waste, indeed. 

Scene VII. — Allegorical picturesque scene representing the Haven cf Domest:c 
Bliss. 

CHARACTERS. 
POSSIBLES. 

King Arthur (once King of England, now a subject cf Bvrlesque), 

Sir Lionel Knight of ti<e Silver Shield) . 

Sir Tristram (his rival, Knight of the Bra-en Mug). 

Sir Agrovaink i of th e Rueful CounLuunce) . 

Bruno (a Servant). 

La Belle Isolde (daughter of Sir Jgrovaine). 

IMPOSSIELES. 

Merlin (the Fnchanter). 

Morgana La Faye [the Welsh Fairie). 

The Phantom Bill (a dmgerous Fiend). 

Druids, some enchanting young ladies, etc. 

Costumes, ad libitum. 

A burlesque and mosque for the moderns— novel, allegorical, 
musical and spectacular. The characters include King Arthur 
and some of his Round Table Knights, Merlin, the Enchanter, 
etc., etc. Dialogue brisk and amusing, and fine opportunity for 
picturesque as well as amusing costume. Plenty of good songs, 
dancing can be introduced, excellent chances for business, and 
no end of fun. Can be made very telling. 



ANALYSIS OF PLAYS. 



179 



THE TIGEK AT LABGE ; 

OK, THE CAD OF THE "BUSS."* 
A Comic Bttrletta in One Act, by George Blins. 

Time in representation, one hour. 

Scene I. — A street. 

Scene U.-r-A room in Sir Toby Pliant's house. 

CHARACTERS. 

Sra Toby Pliant. Boy. 

Frank Lavish. Lydia. 

Jem Bolt {his Tiger^. Patch. 

Tactic (Lavish's Fiiend). Sally Comfort. 



COSTUMES. 

Sib Toby Pliant.— Suit of plain black, with black Hessian boots. 
Frank Lavish. — A gentleman's plain suit. Second dress, Conductor's hat 
and coat. 

Jem Bolt (his tiger). Omnibus livery, gold lace on the coat, collar, and 
hat — breeches and boots. 

Tactic (Lavish's friend). A gentleman's plain suit. Second dress, Coach- 
man's coat and hat. 

Lydia (Pliant's tuard). White muslin dress. 

Patch (her maid'. The usual servants' dress. 

Sally Comfort (her friend). The same. 



A short and easy farce, -which can be quickly gotten np. The 
first scene can be played in Sir Toby's house, if more conve- 
nient, making one scjsne only for the play. Plenty of scope for 
fan, and can be made to go oh? very lively. 



TITTLEBAT A FATHER* 
A Monologue in One Act. 

Time in representation, ten minutes. Scene, a parlor. 

CHARACTER. 
Zachariah Tittlebat, 
Costume.— Dressing gown and cap. 

Mr. Tittlebat, who has recently been made a father, confides 
his joy and his thoughts to an appreciative audience. 



180 



ANALYSIS OP PLAYS. 



TO LET, FUKNISHED * 
A Comedietta m One Act, by F. C. Btjrnaht>. 

Time in representation, thirty minutes. Scene, a library in Craggie Court, 
Hardfordshire. Time, the present day. 

CHARACTERS. 

Sir Hardnell Craggie (a wealthy, eccentric and miserly Old Gentleman, 

residing at Craggie Court, Hardfordshire). 
Webb {Butler, Groom, Housemaid, Valet, Footman and Upper Gardener) . 
Mb. Cecil Lee (a student at the Middle Temple). 

Miss Florence Ward (an Orphan ; Sib Hardsell Craggle's Niece). 
Costumes, Modern. 

Sir Hardnell Craggie, a wealthy and eccentric old miser, find- 
ing his niece Florence troublesome and expensive, resolves to get 
rid of her by marrying her off. His factotum and man of all 
work, Webb, devises the plan of offering Craggie Court, To Let — 
Furnished, in the hope that some one looking through the house 
will also take fancy to Miss Florence. Mr. Cecil Lee, an old 
lover of hers, pursued by bailiffs, seeing the notice "To Let/ 5 
takes refuge in the house, and has an amusing scene with Sir 
Hardnell. The usual result follows — Cecil and Florence being 
only too happy to take each other, and Sir Hardnell consenting 
at the last moment to satisfy the myrmidons of the law. 



TOM COBB; 
OR, FORTUNE'S TOT 
A Farcical Comedy in Three Acts, by W. S. Gilbert. 

Time in representation, two hours. 

Act L — Scene. — A shabby but pretentious sitting-room in Colonel O'Frpp's 

house. 

Act II. — Scene. — The same room in Colonel O'Fxpp's house, but very hand- 
somely furnished. 

Act III. — Scene. — A drawing-room shabbily furnished in Mr. Effingham's 

house. 

CHARACTERS. 

Colonel O'Fipp (an Irish Adven- Mr. Effingham, 

turer). Mes. Effingham, 

Tom Cobb, ) ,., MtM „ Bulstrode Effingham, 

Whipple, \ {youn V Surgeons). Caroline Effingham, 

Matilda O'Fipp (the Colonel's Biddy. 

Daughter). Footman. 



(members of 
a Romantic 
Family). 



ANALYSIS OF PLATS. 



181 



COSTUMES. 

Tom Cobb. — Quiet morning dress in Act I. Shabby clothes in Act II. 
Decent black in Act III . 

Colonel O'Fipp. — Shabby-genteel morning dress in Act I. Showily 
dressed in Acts TI. and III. 

Whipple. — Quiet morning dress . 

Mb. Effingham. — Black tail-coat, pockets on hips, clerical waistcoat, 
black knee-breeches and gaiters, white tie, broad brimmed hat, bald head, 
long grey hair. 

Bulstrode. — Seedy black, long hair, moustache. 

Caroline. — G-reen satin dress and white " fichu " in Acts I. and II. Black 
dress in Act III. 
Mrs. Effingham. — Stately black. 

Matilda. — Plain morning dress in Act I. Handsome dress in Acts II . 
and III. 

One of Gilbert's entertaining plays, full of absurd situations 
and witty dialogue. All the characters excellent. Tom Cobb is 
an impecunious young surgeon, engaged to Matilda O'Fipp — 
very Irish, indeed. Her father, Colonel O'Fipp — more Irish 
still — lives as best he can, and is in the habit of engaging her to 
anybody who will lend him money. When poor Tom has 
nothing more, the O'Fipps turn him off and take up with young 
"Whipple. Beset by creditors, and hearing of the death of a 
supposed pauper, called Tom Cobb also, our friend Tom makes 
up his mind to sham dead, and in a spirit of mockery makes a 
will in favor of Miss Matilda. It turns out that the real deceased 
was a miser, and had left a large fortune. This the O'Fipps 
seize, and when poor Tom, tired of the grave, returns to them, 
they pretend not to know him, The Colonel, however, proposes 
to allow him a pound a week, provided his name is Major-General 
Arthur Fitzpatrick. As he is penniless, he assents, and no 
sooner assumes his new name than he is sued for breach of 
promise by a destitute family called Effingham. These people 
are very funny, indeed. As Tom doesn't know what else to do, 
he agrees to keep the Major-General's word to Miss Caroline, 
more especially as Tom Cobb is beiug daily advertised for by 
Messrs. Dockett & Tape. At this point Colonel O'Fipp stops the 
allowance, and Tom decides to give himself up and expose the 
bogus will business. In vain the gallant Irishman offers to treble 
the pound a week. Tom keeps his word, and to his own, and 
everybody else's amazement, it turns out that he is grandson and 
heir of the deceased Tom Cobb. The O'Fipps step out and Tom 
steps in. As Miss Caroline has been faithful to him in his 
poverty, he is faithful to her in his prosperity, and all ends 
pleasantly. 



182 



ANALYSIS OF PLAYS. 



TOO WINDY FOE AN UMBEELLA. 

A Petite Comedy in One Act. 

Time in representation, -forty minutes. Scene, parlor in Miss Georgina 
Gebscxn's Jiouse. 

CHARACTERS. 

Mb. Bob Chester. Miss Georgina Gibson. Polly Hopkins. 

COSTUMES. 

Mb. Bob Chesteb. — Fashionable walking costume. W hite vest, silk hat, 

gloves, silk umbrella. 

Miss Geobgina Gibson — Fashionable silk walking costume. Hat, feather, 
&c. Ladies' silk umbrella. 

Polly. — Smart chintz dress. Neat cap, with red ribbons. 

A petite comedy, with only three parts, unless we count the 
umbrella. Mr. Bob Chester has assurance enough generally, but 
when he meets his Sweetheart, he can do nothing but invent 
bashful business with his umbrella, which he carries on every 
occasion. The Sweetheart, Miss Greorgina Gibson, punishes him 
enough, but accepts him and his umbrella at last with great con- 
tentment. Polly Hopkins is a good soubrette part. 



TKAGEDY TEANSMOGEIFIED. 

A Burlesque in Three Acts. 

Time in representation, forty minutes* 

Act I. — Scene. — The manager's room. 

Act II. — Scene. — The stage. 

Act III. — Scene.— The same as in Act I. 

CHARACTERS. 
Placid {a Manager). Testy {a Prompter). 

O Bbown (a Pantomimist). Miss De Jones {a Singing Chambermaid). 

The Honorable Mbs. Belgrave (a Fashionable Authoress), 

Costumes, Ordinary morning costume, more or less ad libitum. 

The amusement of this piece will consist chiefly in its broad 
buffoonery. Placid is a manager, and about to bring out a 
tragedy. At the last moment, his leading lady and gentleman 
send excuses. In this predicament, he substitutes from his own 
company a singing chambermaid and a pantomimist, and calls 
them to rehearsal. This scene is farcical. Mrs. Bel grave, the 
author, is in despair, and the manager at his wits' end, when the 



ANALYSIS OF PLAYS. 



183 



leading lady and gentleman reconsider their excuses, and the 
play is brought out with its original " strong cast.'' 



A TKXP TO CAMBBIDGE.* 

A Comedietta in One Act. 

Time in representation, thirty minutes. 

Scene I. — A centre door chamber. Window, s. E. l. Door, s. e. e: 
Scene II. — WoAting-room at a railway station. A window in it. 
Scene III. — Same as Scene I. 

CHARACTERS. 

Mr. Highbury Jokings. 

Mr. O'Brien Greenbank {an Irish Curate). 

Miss Cruikshank (an Enthusiasiic Elderly Young Lady). 

Mrs. Highbury Jokings. 

Miss Tabitha Primmer (Aunt to Miss Cruikshank). 
COSTUMES. 

Mr. Highbury Jokings.— A light suit, red necktie, white hat, and eye- 
glass. 

Mr. O'Brien Greenbank. — Suit of black, and white necktie. 
Miss Cruikshank. — An ultra-fashionable costume. 

Mrs. Highbury Jokings. — Fashionable costumes for morning and walk- 
ing. 

Miss Tabitha Primmer. — Short waist to dress, no crinoline, leg-of-mutton 
sleeves, large bonnet and a green sunshade, frilled cap, shawl. 

This farce describes the adventures of Mr. Highbury Jokings 
and. Mr. O'Brien Greenbank, who, much against their will, are 
forced to invite Miss Cruikshank, an enthusiastic elderly young 
lady, to accompany them on an excursion to Cambridge. 



. TWENTY AND FORTY.* 

A Comedietta in One Act. 

Time in representation, one hour. Scene, a drawing-room. 
CHARACTERS. 

Mr. Oswtn Vanhoe. Benson (Lady Elizabeth Gower's 

Mr. Mare Planteb (50 and jolly). Butler). 

Footman. Lady Elizabeth Goweb (40). 



184 



ANALYSIS OF PLATS. 



Miss Lilas Benham (20 and childish). Himmer (Miss Lilas Benham's 
Miss Judith Baehall (50). Maid). 

Saesnight (Lady Elizabeth Gowee's Mrs. Bainks (Lady Elizabeth 
Maid). Gowee's Housekeeper), 

COSTUMES. 

Mb. Oswin Vanhoe. — Young and fashionably attired. 
Me Mabk Planieb. — Comfortably attired and sunburnt. 
Benson. — A butler's dress — black suit, swallow-tail ; white neck-cloth ; 
iron-grey wig. 

Footman. — A livery — breeches, silk stockings, white necktie, powdered 
hair. 

Lady Elizabeth Goweb. — Middle-aged, but youthfully attired. 
Miss Lilas Benham. — White muslin walking costume. 
Miss Judith Babhall. — An elegant walking costume in the extreme of 
fashion, and somewhat loud. 
Saesnight — Plain dress, cap. 
Himmeb. — A waiting maid's costume. 
Mes. Bainks. — A housekeeper's dress— black silk, 

' A good piece for amateurs, and not at all difficult as to 
scenery. Dialogue is bright, and characters all good. Mr. 
Oswin Yanhoe dissolves his engagement with Miss Lilas Benham, 
though they are seriously attached to each other, because the 
latter is so childish. He then becomes engaged, in spite of the 
difference in their ages, to Lady Elizabeth Gower, an interesting 
lady of forty, who hates to grow old and who wishes to marry. 
Miss Benham, who is the cousin of Lady Elizabeth, comes to 
reside with her and meets Mr. Yanhoe, whom she immediately 
claims, ignoring the fact of their previous separation. Her 
naviete is very charming, and he regrets his precipitancy. Lady 
Elizabeth finds them in close contiguity and begins to suspect 
the state of affairs. She is much perplexed and at a loss what to 
do, when Mr. Mark Plainer, a jolly gentleman of a suitable age 
to her own, offers himself as a substitute for Mr. Yanhoe. She 
accepts, and the young people are happy. The fun of the piece 
rests upon the shoulders of Miss Judith Barhail, a meddlesome 
and gossiping maiden of fifty. 



TWICE KILLED.* 
A Farce in One Act, by John Oxenford. 

Time in representation, forly-jive minutes. Period, the present. 

Scene I, — A view by the side of the Thames. 
Scene II. — A parlor ; a large window to open. 

CHARACTERS. 

Me. Euclid Facile. Robeet {a Servant). 

Me. Ralph Reckless. Mes. Facile. 



ANALYSIS OF PLATS. 



185 



Tom (Reckless' Servant). 
Mr. Holdfast. 
Ma. Fergus Fable. 



Miss Julia Flighty, 
anny Pepper [a Housemaid). 



Costumes, Modern. 



Mr. Euclid Facile, a philosopher, and Fanny Pepper, are the 
leading characters in this farce, which is a very good one for 
amateurs. They imagine they have twice killed Ralph Eeckless ; 
of course without meaning to; Mr. Facile being a moony and in- 
offensive old man. Mrs. Facile is a scolding old woman; Ralph 
and Julia the necessary lovers ; the other parts are very slight. 
There are a good many properties wanted — a hamper large 
enough to hold a man (by which Reckless gets into the house, 
and. which is afterwards thrown out of the window by Fanny 
and Euclid); a large globe with a cover ; and a pestle and 
mortar, etc. 



A Comedy in Three Acts, by James Albert. 

Time in representation, one hour and fifteen minutes. 

Scenes. — Act I. — Sitting-room in Mr. Grant's house. Act II. — Sitting-room 
of Mel. Jack Wyatt. Act III. — Gardens and country-house of Mr. Grant. 



Mr. Digby Grant is an impecunious gentleman with two 
charming daughters, otherwise the " Two Roses. ' ; Being sud- 
denly lifted from poverty to wealth he becomes arrogant and 
swollen with pride, and dismisses his daughters' lovers, on the 
ground that they are poor. It finally appears that Mr. Deecie, 
one of the lovers, is the real heir of the fortune of which Mr. 
Grant had supposed himself master. The latter retires as grace- 
fully as may be, and ali terminates happily. The dialogue of 
this piece is very bright and sparkling, and it requires good 
actors. 



TWO KOSES.* 



CHARACTERS. 



Jack Wyatt. 

Caleb Deecie {his Friend, blind) . 

Digby Grant, Esq. 

Our Mr. Jenkins. 

Mr. Furnival. Robert. 



James. 

Lottie. 

Ida. 

Mrs. Jenkins. 
Mrs. Cupps. 



Costumes, English of the present day. 



186 



ANALYSIS OF PLATS. 



UNCLE JACK ; 
0R ; TESTING HEARTS.* 
A Comedietta in One Act, -by S, Cook. 

Time in representation, one hour and thirty minutes. 

Scene I. — Centre-door chamber in third grooves, backed by interior. Doors 
s. e. r. and s. e. l. 
Scene EI. — A front strert. 

Scene III. — Kitchen in third grooves. Windoiv, b. f., and door, l. f.; both 

to open. Fire-place, u. E. R., with empty grate. 
Scene IV. — A front street. Same as Scene II. 
Scene V. — Same as Scene I. 

CHARACTERS. 



Mr. Charles Montgomery (a Weal- 
thy Merchant). 

Jack Eenton (named Old Jack— from 
the West). 

Constable Stubbs. 



Mrs. Charles Montgomery. 
Martha Blaee [her poor Sister). 
Widow McGill. 
Nancy Mahoney. 

Children, <£c. 



COSTUMES. 

Mr. C. Montgomery. — Black frock coat, pants, and vest ; stiff white neck- 
cloth. 

jack Fenton. — Large pea-jacket; blue woolen shirt; red neckerchief; 
pants tucked into boots ; large felt hat. 
Constable Stubbs. — Ordinary. 

Mrs. C. Montgomery. — Grey silk, high in the neck ; small collar ; cuffs. 
Martha Blake.— Plain brown dress ; black shawl ; bonnet, &c. 
"Widow McGill. — Flowered silk ; showy dress ; hat, &c. 
Nancy Mahoney. — Servants' print dress, with sleeves rolled up ; apron ; 
bonnet, and shawl, kc. ; red shock wig ; cap. 
Children. — Poor dresses. 

A pretty little play, in one act, deservedly popular with drama- 
tic clubs, and very suitable. Mr. and Mrs. Montgomery, a well- 
to-do people, but selfish aud mercenary. Martha" Blake is their 
poor sister. !N"ancy is their Irish servant, and this is an excellent 
part. Mrs. Montgomery refuses to help Martha, who is in ex- 
tremity, and when her brother Jack, long supposed to be dead, 
comes to see her, looking shabby enough, she shows him the 
door. He goes to Martha, who receives him with open arms, 
and it turns out that he has come home rich and prosperous. 
Then the Montgomerys come to grief, and Martha and Jack 
heap coals of fire on them by going to their assistance. This un- 
expected generosity turns their hearts, and they see their con- 
duct in its true light. All this sounds more like a Sunday-school 
book than a play, but there is plenty of comic business, and 
Uncle Jack must be a good low comedian, with a dash of pathos 
in him. It is a play that will always interest and amuse an au- 
dience, and not too difficult. 



ANALYSIS OF PLAYS. 



187 



UNDER THE LAUBELS. 



A Drama in Five Acts, by T. S. Denison. 

Time in representation, one hour and forty-five minutes. 
Acts I and II —Scene.— Mrs. Mtlford's parlor. 

Act III.— Scene I.— The haunted cabin in the mountain. Scene II.— The 
CI ffville log jail. 
Act IV. AisD V. — Scene. — Same as Act I. 



CHARACTERS. 

Kyle (" Kt ") Brantford. Sheriff. 

Frank Colewood. Mrs. Milford. 

Ike Hopper. Rose Milford. 

Bob Button. Polly Dowles. 

Zeke. Sooky Button. 



Costumes, Modern. 



This piece will be found suitable for amateur talent, with the 
parts so evenly divided that each performer has a chauce. Mr. 
Milford dies -suddenly, leaving his property by will to Rose, Jiis 
adopted daughter. His widow being dissatisfied with this ar- 
rangement, conspires successfully with one Kyle Brantford to 
have the will set aside. Brantford than mauages to get control 
of the estate, and lends Mrs. Milford a large sum of money, for 
which he takes a mortgage. Rose and Frank, her adopted 
brother and lover, are thus left penniless, and persecuted by 
Mrs. Milford and by Brantford, who persists in forcing his atten- 
tions on Rose. The third act is diversified by the meeting of 
the " Regulators," who are tools of Brantford, at a haunted 
cabin, where their plans are overheard by friends of Rose and 
Frank. The latter is arrested and thrown into jail, where he 
has a desperate encounter with the ruffian of the piece, Bob 
Button, whom he conquers, and then escapes. Rose, coming 
shortly to his help, falls into the hands of Button, but is rescued 
by Ike and Zeke. Brantford now has the Milford family entirely 
in his power, and purposes to close the mortgage. Ee still per- 
secutes Rose, who is about to succumb at last, when his triumph 
is ended by a sheriff's posse, led by Frank, who has been search- 
ing for proofs of his guilt. He "is arrested for conspiracy, and 
Frank and Rose join hands. There are a number of excellent 
low comedy parts, male and female, and some dramatic situa- 
tions; while the scenery will not be found difficult to manage. 



188 



ANALYSIS OF PLAYS. 



USED UP. 



A Comedy in Two Acts, by Charles Mathews. 



Time in representation, one hour and ten minutes. Period, the present. 

Scene I. — A drawing-room ; folding doors c, leading to another room ; win- 
dow {practicable) looking on io river. 

Scene II. — Interior of farm-house, once an old manor-house; balustrade 
across back ; three trap-doors infioor. 



Action of the play extends over a period of three weeks. 
CHARACTERS. 



Sin Charles Coldstream. 

Sir Adonis Leech. 

Hon. Tom Saville. 

Wurzel \a Farmer). 

John Ironbrace (a Blacksmith), 



Fennel (a Lawyer). 
James {a Footman). 
Lady Clutterbuck. 
Mary Wurzel. 



Costumes, Modern. 



"What is called a " one-horse " piece — entirely depending on 
Sir Charles Coldstream, a man utterly Mast and tired of life, who 
has been everywhere and seen everything, and finds "nothing 
in it." He gets into a quarrel with Ironbrace, and in their 
struggle they fall through a window and into the Thames. In 
the second act Sir Charles is in hiding, disguised as a plow-boy, 
at one of his own farms, occupied by Wurzel, whose daughter 
Mary is the only person aware of Sir Charles' escape from drown- 
ing. He believes he has murdered the blacksmith. Ironbrace 
also comes to the farm to hide (Wurzel being an old friend of 
his), under the impression that he is " wanted " for the murder 
of Sir Charles. He is concealed in a cellar beneath the trap- 
doors. The scenery of this play is difficult to manage— as there 
is a double room with folding doors, and a practicable window 
through which they must crash in Act I., and the three trap- 
doors with a space beneath, which could only be managed on a 
raised stage, in Act II. The balustrade and the steps up to it, 
though a very picturesque addition to the scene, may be left out; 
but, where it is practicable, a good deal of old oak should be intro- 
duced— rafters, chimneypiece, stairs and gallery with balustrades 
— as this room was once the hail of an old manor-house ; and, 
besides, it makes such a pretty picture and such a good contrast 
to Scene I.— handsome and modern. The contrast in the 
behavior of Sir Charles is equally strong : in the first act 
nothing pleases him, everybody bores him ; in the second act he 
is ravenously hungry, and can enjoy bacon and cabbage, and, 
still more, making love to Mary. Ironbrace may be made a 
good deal of ; Mary has a pretty part, and Lady Clutterbuck a 
lively one ; Leech and Saville are two so-calle4 friends of Sir 



ANALYSIS OF PLAYS. 



183 



Charles. Ironbrace, of course, wears a leather apron, and has 
his shirt-sleeves rolled up, and must remember to make-up his 
arms, as a gentleman's usual coloring is not by any means in 
keeping with the character. It need scarcely be remarked that 
he should also be muscular. This play is a great favorite with 
amateurs, and with a good Sir Charles is sure to go well. The 
prompter must be ready with the crash when Sir Charles and 
Ironbrace fall through the window. 



THE VEEMONT WOOL DEALER* 

A Farce in One Act. 

Time in representation, forty-Jive minutes. 

Scene I. — Hall in a hotel. 

Scene II. — Chamber in third grooves. 

CHARACTERS. 

Deutebonomy Dutiful. Bob (a Black Boy). 

Mr. Waddle. Slap ^a Bar-tender). 

Captain Oakly. Amanda. 

Con Golumby {an Irish Waiter). Betty (a Colored Girl). 

Costumes, Modern. 

Deuteronomy Dutiful is the title character, and a good speci- 
men of the impudent Yankee peddler. He comes down to York 
to sell wool, and is as full of sayings as a pine knot is full of gum. 
The play describes his antics in an inn. There is, besides, an 
Irish part, and a negro part, and a military part, so that every- 
body can be suited. 



THE VICTOE VANQUISHED. 

A Comedy in One Act, by Charles Dance. 

Time in representation, forty minutes. Period, 1700. 

Scene. — A handsome got/tic room, glass door at c, with balcony beyond, show- 
ing Stralsund in the distance. 

CHARACTER. 
Chables XII. {King rf Sweden). Sebvant to the Baron. 

Babon de Gobtz [his Secretary). Tela {Nieze of the Baron, a Tartar Princess). 
Costumes, Louis Quatorze ; Lkla wears Tartar costumes. 



190 



ANALYSIS OF PLAYS. 



This is a very effective play, but mast be well dressed and 
well acted. Ikla is a very favorite role. She outwits and en- 
slaves Charles XII., and persuades him to pardon her lover, who 

is under sentence of death. Baron de Gortz is a good comic part 
— an old man who lives in perpetual fear that his head will pay 
the penalty of his niece's temerity. Four officers are also re- 
quired in Swedish uniform. They have nothing to say, but are 
introduced to end the play with a flourish. They "might ho 
omitted, and the balcony might be imagined ; in which case the 
play would be easy to get up, and an ordinary drawing-room 
would serve for the scene. The dialogue is remarkably well 
written, as might be expected from the author of " Delicate 
Ground/' "A Wonderful "Woman, " &c. 



THE VILLAGE BELLE; 
OR, MARY THE FLOWER OF EXCHBUKG.* 

A Romantic Drama in Four Acts. 

Time in representation, one hour. 

Act I. — Scene — The Countess Amelia's dressing-room. 
Act II. — Secne. — Imtidi of J ames' cottage. 
Act III. — Scene. — The hall < /justice in a baronial castle. 
Act 1Y. — Scene. — The prison of Ike casile, 

CHARACTERS. 

Count Eichbueg. Jailoh. 

The Judge. Countess Eichbueg. 

The Judge s Son. Countess Amelia (her Daughter). 

Old James (Count Eichbusg's Gar- Maey {Daughter of old James, and " ike 

dener). belle of the Village). 

Anthony {a young Forester). Harriet (Countess Amelia's Maid). 

Judge's Clerk, Officers of the Court, Peasants, Bill Ringers, d-c, <£c. 
Scene is laid at Eichburg, Germany. Time, that of Louis 14th of France. 

COSTUMES. 

The dresse3 for the ladies and gentlemen must be very rich, of the Loi:i3 
Quutorze period. The peasants must be in the German costume of their 
class. 

A very pretty little drama on the romantic order in four short 
acts. Most suitable for amateur talent, and affording opportu- 
nity for very rich dressing of the Louis Quatorze period on the 
part of the ladies and gentlemen. The German peasant dress for 
the other characters is not less picturesque. Tne plot is inter- 
esting, and briefly as follows : Mary, a good and lovely village 
maiden, is much beloved by the Countess Amelia, whom sh$ 



ANALYSIS OF PLAYS. 



191 



visits at the castle, in order to present a birthday gift. Harriet, 
the Countess' maid, is envious and jealons of Mary — not only be- 
cause of her popularity — but because she is beloved by the young 
forester, Anthony. She is shown tho young Countess' jewels, 
and the latter being sent for suddenly, is left alone with them. 
Girl-like, she tries them on, and hearing footsteps, hurries them 
back into the box, and hands it to Harriet. The next morning a 
valuable diamond ring is missing— Mary, suspected of stealing it, 
is arrested and arraigned. The circumstantial evidence being 
very strong, and further corroborated by Harriet's testimony, 
which she makes as damaging as possible, poor Mary is con- 
demned to death, unless she confesses the crime. * This she re- 
fuses to do, and is hurried to prison to await her fate. Mean- 
while, Anthony has gone into the church belfry to ring the 
Christmas chimes. The ropes work so hard that he goes aloft to 
discover the cause, and while there finds a magpie's nest, with 
the ring and other articles in it. As magpies are notorious 
thieves, and the Countess' window was open on the day of 
Mary's visit, the mystery is explained. Mary is exonerated, richly 
dowered by the Count, and united to her lover. 



THE VILLAGE DOCTOR.* 
A Drama in Two Acts, by Benjamin "Webster.* 

Time in representation, one hour and thirty minutes. 

Scenes. — Act I. — An apartment in Pierre Boncosur's house. Act II. — A 
salon in the Chateau de Villecour. 

CHARACTERS. 

Pierre Boncceur. Marchioness de Yillecour. 

Baron de la Fadaise. Baroness de la Fadaise. 
Ferdinand. Louise. 
Coco. 

COSTUMES. 

Pierre Boncceur. — Blue coat, buff waistcoat and small clothes, top boots, 
and grey military great coat. 

Baron de la Fadaise. — Light bine frock coat, trimmed with black fur and 
frogs and braid ; white waistcoat, and white cord French-cut trousers. 

Ferdinand. — First dress: Light olive surtout, white waistcoat, tight panta- 
loons, and Hessian boots. Second dress, Morning gown. 

Coco. — Huntsman's green coat ; scarlet waistcoat, trimmed with gold 
lace, and high leather gaiters. 

Marchioness de Yillecour. — Black velvet body, large loose sleeves, 
green and gold tissue train, and handsome turban. 

Baroness de la Fadaise. — White lace gown, white bonnet and feathers, 
and scarlet and gold India shawl. Second dress, Fashionable morning 
dress. 

Louise.— White figured muslin dress and black silk apron. 



192 



ANALYSIS OF PLAYS. 



This is rather a one-part play, though there is good opportu- 
nity for all of the characters. The eccentric, but kindly Bon- 
cceur is a very good part. The young Marquis Ferdinand falls in 
love with the obscure, but charming Louise, but dare not declare 
himself, being in awe of the Marchioness de Yillecour, an im- 
posing grandc dame. He' pines away and falls ill, when Bon- 
cceur is hastily summoned, and, by an absurd mistake, imagines 
him to be in love with his own aunt, the Baroness de la Fadaise ; 
there is much amusing business here. The Baron is a good low 
comedy part. Louise turns out to be the Baron's daughter by a 
former marriage, and the Marchioness consents to the marriage. 
Very good for amateur performers. 



VIRTUE VICTORIOUS. 
A Burlesque in Three Acts. 

Time in representation, thirty minutes. 

Scenes. — Act I. — The outside of a farm-house. Act II. — Sua Harry's jus- 
tice room. Act III. — Same as Act I. 

CHARACTERS. 

Sir Harry Welder {an English Country Scamp {Agent to Sir Harry). 

Squire). John (Ser Harry's own Man). 

Farmer Whoats. Susan {Daughter to Whoats). 

COSTUMES. 

Properly speaking, the costumes in this play ought to be those of the last 
century ; but it will be quite sufficient that the following be adopted : 
Farmer Whoats, a grey shooting-jacket and waistcoat, handkerchief tied 
loosely round his throat, without collar, soft shabby wide-awake hat, knee- 
breeches, gaiters, and shooting-boots ; Sir Harry, black riding-coat, knee- 
breeches, gaiters, and butcher-boots; Scamp, a suit of black; John, the 
footman's livery ; Susan, a neat cotton dress, looped up, with bare arms, and 
a handkerchief pinned over her shoulders and across the breast. 

This makes a very good drawing-room play, being a reproduc- 
tion of the good old-fashioned comedy, with its country squire, 
its scampish agent, its honest farmer who cannot pay his rent, 
and that buxom lass, his daughter. The part of Farmer Whoats 
must be taken by some one who can master the Yorkshire dialect. 
It may seem difficult to represent the exterior of a farm-house in 
a drawing-room, but much may be done with an old door, a few 
wisps of straw, some artificial creepers, a wooden table, and a 
bench or two. 



ANALYSIS OF PLAYS* 



193 



1VAR TO THE KNIFE.* 

A Oomeby w Three Acts, by H, J. Byron. 

Time in representation, one hour and three-quarters. Period, the present 

Scene I. — A drawing-room at Mr. Harcourt's. 
Scene II. — A dravring-room, at Mrs. Delacour's. 
Scene ITT,. — Library at Me, Harcourt's. 

Action of the piece extends over three days^ 
CHARACTERS. 

Mr. Harcourt {a young Married, Mrs. Harcourt (a Young Wife\. 

Man). Mrs. Delacour {a Young Widow)^ 

John Blunt {a Bristol Manufacturer).. Mrs. Penson (Mrs. Haroourt's 
Mr. Nubbly {Coal Emporium, Green- Maid). 

grocer, and Waiter). Jane Trimmer (Mrs. Delacour' s 

"Sharpus (a Detective). Maid\ 
Captain Thlstleton (-Unattached)* 

€ostumes, Modern. 

Kubbly is a very good part — low comedian's, The '''"war to 
the knife" is between Captain Thistleton and Mrs. Harcourt, 
who had formerly jilted him. The plot is in one Tespect some- 
thing like "A Scrip of Paper: 7 ' Thistleton has kept a love- 
letter, which he intends to make a gift of to Mr. Harcourt, 
Mrs. Delacour ingeniously gets it from him and places another 
instead of it which, presented and read publicly, proves Thistle- 
ton to be a swindler. Sharpus has only a line part ; John Blunt 
is a bluff West-countryman, and might be made an effective 
'character part; he sets things straight generally, pays Har- 
oourt's bills, and falls in love' with Mrs. Delaeour — a charming, 
bright woman, in whom the interest of the plaj^ centres. Mr. 
•and Mrs. Harcourt have a good share of work ; in fact, this is an 
"all-round" play. The perfidious bubbly makes love to Mrs. 
Penson and Jane Trimmer, two nice little " chambermaid 99 
parts. The piece is interesting, very well suited to amateurs, 
and particularly easy to manage. The same room would do per- 
fectly well for the first and third scenes, and with some change 
of furniture, curtains, etc., for the second. The properties con- 
sist of a phial of medicine and wine-glass^ a letter, and some 
bills, 



194 



ANALYSIS OF PLAYS, 



WEARING OF THE GREEK 

A BOUCICAULTIAN IRISH DRAMA IN THREE ACTS, 

Time in representation, twenty-five minutes v 

Act I.— Scene.— Widow McGbath's cabin. 

Act II.— Scene.— The fair. 

Act III. — Scene. — Tke inside of the prison* 

CHARACTERS. 

Mb. Habbxs (a model Irish Landlord}* Mes. Habbis. 

Pat O'Halloban, ) tv*i Widow McGbath. 

TimKoony, ^ lenanis. Oonah (her Daughter), 

Other Peasants, male and female. 
COSTUMES. 

The conventional dress of an Irishman on the stage may be easily man- 
aged. An old velveteen shooting-jacket, or the long great-coat worn gener- 
ally by a farm laborer, with a pair of corduroy breeches open at the knee, 
thick grey stockings, heavy shooting-boots, and the shabbiest "wide-awake'" 
procurable, with a short clay pipe stuck in the brim, will, with a thick 
stick by way of " ShilMah," amply perform all that is necessary. Oonah 
should be attired in a cotton dress, looped up over a coarse stuff petticoat,, 
and with bare arms ; and in the second and third acts the same with a red 
cloak and hood. Her mother, a shabby dress in the first act, and a large 
old bonnet and grey shawl over it in the third. The landlord and his wife 
in ordinary morning costume. 

This play, if well managed, and a little trouble taken with it, 
might be made remarkably effective. It requires a certain 
amount of dressing, and a little attempt at scenery, but not more 
than may easily be managed by an inventive mind. 

Pat and Oonah will be found excellent parts for any lady or 
gentleman who can imitate the Irish brogue tolerably well, 
while the rest are all "walking parts 7i more or less, though they 
admit of being made amusing in the hands of clever amateurs. 

If there are children in the family, they may be brought inta 
the Fair scene with effect ; and indeed, it will greatly add to the 
success of the piece if their grown-up brothers and sisters will 
join them. If, however, nobody can be found to undertake 
these " dummy T ' parts, the piece can go on without them. 

The more fashionably Mr. and Mrs. Harris are dressed, the 
better. 



ANALYSIS OF PLAYS. 



195 



WHICH IS WHICH? 

A Comedietta in One Act, by S. Theyre Smith. 

Time in representation, about three-quarters of an hour. Period, the present. 

Scene. — An artist's studio, folding-doors at back, a throne (platform), easel, 
canvases, etc. 

CHARACTERS. 

Robert Capper (an Artist). Annie. 
Mr. Gargle (his Uncle). Bertha. 

Paddles (Oil and Color Man). Mrs. Mills (Capper's Old Servant). 

Costumes, Modern. 

A very pretty and effective piece. Kobert Capper is an artist, 
much in debt, and threatened with the Connty Court by Paddles. 
His uncle. Gargle, suggests marrying an heiress— his ward, Miss 
Pestle. She comes to the studio to have her portrait taken, ac- 
companied by a young friend ; they are not regularly introduced 
to Kobert, and he cannot make out " which is which/' though he 
had known the heiress well as a child, and wishes it to be be- 
lieved he has never forgotten her. The girls mount the throne, 
place themselves picturesquely, and he sketches them while he 
talks. He falls deeply in love with the one whom he imagines to 
be the poor companion, and who turns out to be Miss Pestle. 
The scene may be made very pretty with old armor, gorgeous 
Eastern draperies, classical vases, etc. Mrs. Mills is a fussy old 
housekeeper, with a mania for dusting. Annie is a nice part for 
a pretty girl. Kobert Capper requires a good light comedian. 
This little^ piece is particularly well suited to amateurs, like most 
of this author's works. 



WHITEBAIT AT GKEENWICH.* 



A Farce in One Act, by J. Maddison Morton. 



Time in representation, one hour. Period, the present. Scene, a drawing- 
room. 

CHARACTERS. 

Mr. Benjamin Buzzard. Miss Lucretia Buzzard. 

Mr. Glimmer. Sally (a Servant). 

John Small. 

Costumes, Modern. 



196 



ANALYSIS OF PLAYS. 



Benjamin and Lucretia, an old brother and sister, are bound 
by the caprice of an aged aunt not to many, under the penalty 
of losing her property. .Each is privately married— Benjamin to 
Sally, and Lucretia to Glimmer. Both happy pairs go down to 
Greenwich, where they are waited on by John Small, who subse- 
quently comes to them as a servant, recognizes them, and profits 
by the knowledge. His is a good low comedian's role, while 
Buzzard may be made a good deal of as "old man." Lucretia 
has some amusing bits. Some of the plot is rather objectionable. 
There is a dinner scene. This is often played under the name of 
"The Two Buzzards." 



WHO'S YOUE FKIEND? 
OK, THE QTJEENSBERRY FETE.* 
A Comic Drama in Two Acts, by J. E. Planche. 

Time in representation, one hour and thirty-two minutes. Period, about 
George I. 

Scene I. — Garden of the Duchess of Queensbury. 
Scene II. — A saloon. 

Action of the piece extends over two days. 
CHARACTERS. 

Viscount Leatherhead. Theee Constables. 

Sir Felix Loyel. Countess of Rosedale. 

Giles Faiuland {a Peasant.) Lady Bab Blazon. 

Thoimas and Two Servants. Mittens. 
Three Servants {in royal liveries). 

COSTUMES, 

First, Watteau peasants, handsome satin dresses. Second, Court dresses, 
time of George I. 

A number of Court ladies and gentlemen go this fete as Chloe, 
Lubin, etc. A real countryman, Giles, gets in among them. 
He is introduced by Sir Felix as a Russian prince, so his rustic 
behavior passes at first as excellent acting ; but when it comes 
to kissing some of the ladies the constables are sent after him, 
and he only escapes by the heip of the Countess, whose foster- 
brother he is. In the second act she has concealed him in her , 
house, which leads to a great many complications. The play is 
very pretty — the garden scene, with the shepherds and shep- 
herdesses, is always effective. The dresses in the second act are 
also very handsome ; and Yiscount Leatherhead is a splendid 
" old man's ; ' part; Sir Felix, a light comedian's ; and Giles was 
played by Charles Mathews. The Countess is a very good 
part — one of Madam Yestris' ; and Lady Bab is amusing. There 
is a good deal of embracing, which might be objected to. No 
stage difficulties, and very few properties. 



ANALYSIS OF PLAYS. 



197 



WHY DID YOU DIE ? * 



A Comedy in One Act ; by Charles Mathews. 

Time in representation, fifty -five minutes. Scene, Lady Caroline's boudoir. 
CHARACTERS. 

Sir Andrew Sunderland. Lady Caroline Sunderland. 

Frederick Stanley. Emily. 
Joseph. Jenny. 

COSTUMES. 

Sir Andrew Sunderland. — Blue body coat, metal buttons, square-cut 
skirt, buttoned up to the neck. 

Frederick Stanley. — Brown frock coat, slate-colored trousers and em- 
broidered waistcoat, black cravat, boots. 

Joseph. — Smart grey livery. 

Lady Caroline Sunderland. — Light brown silk pelisse, straw bonnet, and 
black lace scarf. Second dress, Rose-colored silk. 
Emily. — Blue and white spotted frock. 
Jenny. — Chintz gown, and silk apron. 

A very pretty piece for amateurs, and no difficulties about 
scenery. Sir Andrew Sunderland, supposed to be dead, writes 
to his wife, Lady Caroliue, announcing his immediate return 
home. During his absence Mr. Frederick Stanley, coming to 
court Lady Caroline's niece, Emily, is subdued by the superior 
charms of the supposed widow, and, being a bit of a coxcomb, 
fancies that she returns his affections. Sir Andrew coming sud- 
denly, is much mystified by the state of affairs, and the servants, 
being unacquainted with his person, are further mystified. The 
fun of the piece turns upon the unsatisfied curiosity of all the 
characters, and the answer to the oft repeated question, " Why 
Did You Die f " is never given, on account of the inevitable in- 
temrptions which occur every time it is asked. The two ser- 
vants, Joseph and Jenny, are excellent parts. 



THE WIFE'S SECRET. 



A Drama in Five Acts, by George W. Lovell. 

Time in representation, two hours. Period, time of Oliver Cromwell. 

Act I. — Scene I. — Court of Sir Waltee Amyoti's house. Scene II. — The 
bower -chamber. 

Act II. — Scene I. — Garden. Scene IE. — The bower-chamber. 

Act III. — Scene I. — Grounds of Sir Walter's house. Scene II. — Gallery or 
corridor. Scene III. — Outside of Sir Walter's house. 

Act IV. and V. — One Scene in each — A room. Action of the piece extends over 
a few days. 



198 



ANALYSIS OF PLAYS. 



CHARACTEKS. 

Sib Walter Amyott. 

Jabez Sneed (his Steward), Lady Eveline Amyott (Sib 

Loud Arden. Walter's Wift, Sister of 

Captain Baroque, Lord Arden). 

Etheridge (a Parliamentary Maud (her Maid). 

Officer). Keppel. 
Tour Servants. 

COSTUMES. 

Time of Commonwealth. Ladies rather puritanical. 

Written in blank verse, in very graceful language. Thei 
scenery looks complicated, but there need only be four flats — the 
Court-yard, the Bower-chamber, another room, and the garden 
with the exterior of the honse. One of the windows mnst have a 
light behind it, so that the shadows of Lady Eveline and Lord 
Arden fall on the blind. Lady Eveline conceals her brother (a 
Eoyalist flying for his life) in her bower-chamber ; her hnsband 
sees these shadows on the blind, and is overwhelmed with anger 
and jealonsy. Lady Eveline has promised her brother not to be- 
tray him to her hnsband, an officer in Cromwell's army. This 
is "the wife's secret/ ; which she keeps faithfnlly, at the risk of 
her life, her good name, and her husband's love, until, in an 
agony of fear for her brother's life, she reveals it. Sir Walter 
behaves generously, as he does throughout. This is a part which 
demands a very good actor. Lord Arden's is a light comedian's 
roley Jabez Sneed is a character part — a canting Puritanical 
villain ; Keppel, a saucy page, may be taken by a boy or young 
lady ; Maud is a capital character, a lively coquette affecting the 
demure manners of the times, No better part could be wished 
for by the most ambitious amateur actress, than Lady Eveline. 
The plot is interesting, parts of the play are amusing, and the re- 
mainder is very pathetic. None of it drags ; but three good men 
and two clever actresses are absolutely necessary to the success 
of it. The dresses and scenes are pretty ; and, altogether, it is a 
play that can be highly recommended. There are very few prop- 
erties, and the only difficulty is the shadow-scene. The window 
would have to be cut out of the flat, leaving the stone or lead- 
work, if the window is Elizabethan ; a blind is placed behind it, 
on which the shadows are thrown. The stage directions are, 
" The rising moon begins to shine on the window, a figure ap- , 
pears indistinctly in the room but that would be far more dif- ' 
ficult to manage — the figures (in an ordinary amateur's stage) 
would come much too near the people on the stage, and would 
be too visible. I have seen it done the other way with very good 
effect. 



ANALYSIS OF PLATS. 



199 



THE WICKED WOBLD.* 
A Fairy Comedy m Three Acts, by W. S. Gilbert. 

Time in representation, three hours. 

Act I. — Scene. — Fairy Land, Sunrise. A beautiful, but fanciful prospec- 
tive landscape backing pamted, on the cloth. Working gauze -and opaque clouds 
suspended with copper wire, and arranged so that they can be gently swayed to 
and fro. Mediaeval city r., a small portion built, the rest painted with a distant 
river meandering its silver stream throughout. A set rock, c. , with fairy 
flowers and fruit overhanging its edges. Cut open behind between the rock and 
clouds, with stpps to mount by from the cellar. Fairy trees. , <%n& l, , in front 
of c, rock piece. Set fairy bower l. 

Act II. — Same as Act I. Sunset. 

Act III. — Same as Acts I. and II. Moonlight. 

The action U compris&d within the space of twenty-four hours. 
CHARACTERS 

FAIRIES. 

Ethais. 
Phyllon. 

Lutin (A Serving Fairy). 
Selene {A Fairy Queen). 
Darine. 

MOBTALS, 

Sib Ethais. 
Sib Phyllon. 

COSTUMES. 

FAIRIES. 

Ethais.— -White Roman toga, trimmed with yellow and silver. 
Phyllon. — Roman toga, light brown and gold. 
Lutin. — Roman toga, grotesque. 

Selene. — Long white cashmere robe, embroidered with silver, drawn in 
at waist with silver cord and tassels ; jeweled crown. 

Darine. — Salmon colored cashmere robe, embroidered with gold, with pep- 
Ion of same material. 

Zayda. — Pale green cashmere robe, embroidered with silver. 

Leila. — Blue cashmere robe, embroidered with silver. 

Neodie. — Pink cashmere robe, embroidered with silver. 

LiOCBiNE.— Yellow cashmere robe, embroidered with silver. 

MORTALS. 

Sib Ethais.— Light blue short Roman shirt ; lambrequins sandals ; sil- 
ver helmet and breastplate, with tiger's skin on shoulders. 
Sib Phyllon. — Same as Sir Ethais ; colors, scarlet and gold. 
Lutin,— Same style of costume made grotesque. 

* # * All the female costumes should be made of light and bright materials. 

Another of Mr. Gilbert's charming fairy comedies, adorned 
with wit, and pointed by a moral which it were well if all the 
Pharisees of this poor world would take to heart. The fairies, 
from their dwelling-place in a cloud, behold the world rolling at 



Zayda. 
Leila, 
Neodie. 

LOCBINE. 



Lutin (Sib Ethais* 
Henchman). 



200 



ANALYSIS OF PLAYS* 



their feet. Mortal love is unknown among these spotless beings,, 
and safe in their cloud-land from the snares of temptation, they 
find their chief occupation in musing upon the exceeding wicked- 
ness of the world and drawing comparisons between themselves 
and sinful men. So they conclude, urged by curiousness as to 
what manner of being a mortal is, to introduce two of them into 
their midst, that looking upon the beauty of their unspotted lives, 
these mortals might return to earth with the story, and win all 
mankind to be good and pure. The poor fairies receive a terrible 
punishment. Within twenty-four hours after the mortals, Ethais 
and Phyllon, come among them, love, hate, jealousy, malice, 
falsehood — in a word, all the worst passions which disfigure hu- 
manity, are raging in their once peaceful breasts, and it is only 
when the Knights are sent back to earth that the fairies awake as 
from a dream, to realize with shame and humiliation, that their 
vaunted goodness had consisted mainly in the lack of opportunity 
and the absence of temptation. 



WILD FLOWERS * 
An Operetta in One Act, by Dr. J* "W. Bernhardt. 

Time in representation, forty-five minutes. Scene* a room in a cottage* 
CHARACTERS. 

Francis Flower (a Clownish Young Farmer, tmth expectations). 
Kitty (a Smart Country Girl, afterwards assuming the^ character of A r a b ell a 
Fend'em, a Young Lady of the Period). 

COSTUMES. 

Francis. — Clean white frock or slop, open collar, light kersey knee 
"breeches, white stockings, shoes, light wig, straw hat. 

Kitty. — First dress, Pretty rustic dress, dark curled wig, straw hat, flow- 
ers. Second dress, Fashionable dress of the period, long light wig. Third 
dress, Same as the first. 

This is a musical piece in one sense, with pretty songs for the 
characters. Mr. Francis Flower, an amiable rustic, comes into 
a fortune, but is not thereby made to forget Kitty, his sweet- 
heart, who amuses herself by personating a ' 1 young lady of the 
period.'' A very good play for two characters. 



ANALYSIS OF PLATS. 



201 



WILD FLOWERS. 
f A Dramatic Sketch in One Act, by Edward Rose. 

Time in representation, forty minutes. 

Scene. — A drawing-room comfortably furnished. French window opening into 
garden, c. 

CHARACTERS. 

Mr. Popptthome (of Oakleigh Farm, Mrs. Ashbury (Sister to Poppithome), 

Gloucestershire). Lilian (his Daughter). 

Edgar Horton (his Nephew). May Poppithome. 

Costumes, Modern. 

This little sketch, which has no plot in particular, contrasts 
natural sweetness and simplicity of character, with starched con- 
ventionalities and worldly-wise management. It is needless to 
say which triumphs. May Poppithome must sing. 



WITHERED LEAVES. 



A Comedietta in One Act, by Fred. W. Brotjghton. 

Time in representation, one hour. 

Scene. — A pretty glen. At the back runs a stream crossed by a rustic bridge ; 
on the right is a pretty grass slope, overhung by the foliage of a large tree. 

CHARACTERS. 

Sir Conyers Conyers (Baronet). Cecil Vane. 

Tom Conyers. Lady Confers. 

Arthur Middleton. May Rivers. 

Costumes, Modern. 

This is one of the best of the one-act comediettas which are 
now so ^popular on our stage. The dialogue is witty, and the 
situations amusing, with a vein of sentiment throughout. Cecil 
1 Yane, an adventurer, has contrived to engage himself to May 
1 Rivers, an interesting but wealthy youn^ person. She, however, 
is haunted by a romantic recollection o± Mr. Arthur Middleton, 
whom she met a year previous, and who went away without de- 
claring himself. The bunch of violet with which he presented 
her, she still treasures, although they are now only " Withered 
Leaves. " Arthur returns at this juncture, hoping to meet once 
more his " Fairy of the Glen." He is accompanied by Tom 
Conyers, a fast, but goodhearted scapegrace, who has quarrelled 
with his father, Sir Conyers Conyers. This is a first-rate comedy 
part, quite in Mr. Lester "Wallaces best style. Sir Conyers, hav- 



202 



ANALYSIS OF PLAYS. 



ing married a young wife, brings her to this very spot to pass the 
honeymoon. Lady Conyers has an amusing episode with Tom, 
who tries to flirt with her, and discovering his identity, concocts 
a plot to reconcile the father and son. Arthur meets his fairy, 
discovers her engagement to Yane, and recognizes the latter as a 
villain, the proofs of whose evil doings he carries in his pocket. 
The interest of the piece centres in the entertaining dialogue, 
which is well sustained by all the characters, and in the progress 
of which Tom discovers that he is flirting with his mother, she 
entraps him into making an indirect apology to Sir Conyers, who 
is only too glad to welcome his recreant son. Yane and Arthur 
have a stormy interview, which is overheard by Miss Rivers. 
The piece thus reaches a happy denouement. It requires good 
acting, but can be given quite as well by amateurs as by profes- 
sionals, the parts being all good. If necessary, the scenery can 
be altered either to a garden or wood scene, if it is not conve- 
nient to get it up as described above. 



A "WOMAN "WILL BE A WOMAN * 

A Duologue in One Act, by J. Redding Ware. 

Time in representation, thirty minutes. Scene, a drawing-room handsomely 
furnished. 

CHARACTERS. * 

Colonel Charteris. Lady Alice Poltenay. 

Servant. 

Costumes, Modern. 

Yerj amusing. The characters both. good. Colonel Charteris 
is in love with his tenant, Lady Alice Poltenay, and calls upon 
her to say so. Lady A., not ill-disposed towards him, is still in 
love with a creation of her fancy, a Mr. Carleon, whom she has 
not seen for years, and whom she expects momentarily. She 
has powdered her black hair to look gray, as she wishes to test 
his affection, telling the Colonel that man is a coarse creature, 
who loves through his eyesight, while woman hardly knows if 
her lover is fair or dark. While they squabble the guest comes, 
and Lady A. leaves the room to receive him . She presently re- 
turns, however, in much agitation, declaring that she will never 
marry him, and after a good deal of cross-questioning on the 
Colonel's part, it turns out that poor Mr. Carleon is as bald as an 
egg ! Colonel triumphant. 



ANALYSIS OF PLATS. 



203 



THE WOMEN'S CLUB. * 



A Comedietta in One Act/ by Sterling Coyne. 

Time in representation, two hours. Scene, a drawing-room. 

Major M'Cool {a retired Irish Major). 
Charles Pleydell {of the Inner Temple.) 
Erank Flexor (a Student of Guy's Hospital). 
Captain Arthur Chomly (of The Guards). 
Mrs. Lovebird. 
Miss Louisa Lipscombe. 
Miss Ida Parke. 
Miss Araminta Willowby, 
Miss Cissy Maythorne, 
Miss Camilla Spooner, 
Miss Serena Brooks, 
Perkins (a Chambermaid), 



{Members of" The Women's Club). 



COSTUMES — Moderk. 

Ida Parke wears light auburn hair, Perkins a red shock wig, Mrs. Love- 
bird a wdow's cap, Major M'Cool a uniform (with the coat torn up the 
back), peg-top whiskers and a bald wig. 

Mrs. Lovebird and a few friends, whose love affairs have all 
gone wrong, form themselves into a "club, " and eschew the 
society of mankind. The efforts of their respective lovers for 
reconciliation, and their final success, afford an excellent oppor- 
tunity for fun. 



A WONDERFUL WOMAN. 

A Comic Drama us Two Acts, by Charles Dance. 

Time in representation, one hour and a half. Period, 1770. 
Scene I. — A drawing-room in Paris. 

Scene II. — Entrance to a chateau, and part of village street. 

Action of the piece, a year. 

CHARACTERS. 
* The Marquis de Fronttgnac. Tailor. 

The Viscount de Millefleurs. Two Servants. 

Rodolphe {an Artist). Madame Hortense Bertrand* 

Crepin (a Cobbler). Cecile {her Niece). 

Maid. 

Costumes. — Latter part of 18th century. Powder. 

Yery gracefully written, and entirely unobjectionable in plot 
and language. Madame Bertrand is a very rich merchant's 
widow, whose ruling passion is ambition. She wishes to be pre- 



204 



ANALYSIS OF PLATS. 



sented at Court, but cannot accomplish this unless she has a title. 
She hears that the spendthrift, Marquis de Frontignac, has been 
declared bankrupt, and adjudged in servitude (according to old 
French law) to his principal creditor, Crepin. She sends for the 
Marquis and proposes to marry him and settle a large income on 
him, on conditions mentioned in a contract, which he, haying 
fallen in love with the lady, signs without reading. After the 
ceremony, however, he is obliged, in spite of his unbusiness-like 
and trusting disposition, to read the document, when he finds 
that he has bound himself, in consideration of a certain sum of 
money, to quit at once and forever the dwelling and society of 
the Marchioness. In extreme indignation he tears off the splen- 
did wedding coat — provided by her — and leaves the house with 
the old cobbler, who turns out to be a friend in need. 

The scenery of the second act would be difficult to manage in 
a drawing-room. It must be an outdoor scene, and there must 
be a cobbler's shed with a sign over it, " Crepin, Cobbler/' after- 
wards changed into f 1 The Marquis de Frontignac, Cobbler. " And 
this shed must be just opposite the grand lady's grand abode. 
There are some stormy scenes between her and the cobbler in con- 
sequence; and a very good one alternately tender and furious, be- 
tween the Marchioness and the Marquis, who, in his degradation 
and solitude, shows a tendency to drown his cares. His wife is, by 
this time, as much in love with him as he with her ; and her pride 
being crushed by a severe message from the king, all ends hap- 
pily. She tears up the insulting deed and is forgiven by the 
Marqais, who gives up cobbling, for which art he has shown no 
natural talent. Cecile, a pretty and pert little schoolgirl, has an 
excellent part. Crepin, the cobbler, is sure to bring down the 
house, in the hands of a good low comedian. Millefleurs may be 
taken as a vacant fop or as a sententious old man. Two pretty 
boys may be introduced with good effect as pages ; and a little 
soft music, as " The Wedding March," when Frontignac and 
Hortense go to be married, "The Gavotte of Louis XIII., 
when Hortense and Millefleurs go to Court, will be found an im- 
provement. In the drinking scene Frontignac can exit singing. 



A Farce in One Act, by John T. Douglass. 

Time in representation, thirty minutes. Scene, a drawing-room. 



WOOING UNDEE DIFFICULTIES * 



CHARACTERS. 



Muswell Hill. 
Reary. 

Frederick St. Pauls. 
Mr. Worthyman. 



Mrs. Hill. 

Matilda. 

Kitty. 



Costumes, Modern. 



ANALYSIS OF PLAYS. 



205 



A favorite farce and a good one ; very droll and not difficult. 
Kitty is a good soubrette part. Mr. and Mrs. Hill are expecting 
Frederick St. Pauls, who is to many their daughter Matilda. 
None of them have ever seen him. As their man-servant has just 
left them without warning, the family is discovered beautifying 
and re-arranging the room, all in great haste. Henry, a foot- 
man, having heard of the vacant situation, comes to apply for it, 
and they fall into the amusing mistake of taking him for Mr. 
St. Pauls. This gives abundant chance for plenty of funny 
business. Henry thinks they are all mad. When the real St. 
Paul comes, they suppose him to be the servant recommended 
by Mr. Worthy man, a friend, and treat him accordingly. He 
comes to the same conclusion as Henry, and humors the joke by 
dressing himself in livery and assisting Kitty. They all get 
thoroughly mystified and worked up, and it is only on the arrival 
of Mr. Worthyman, who knows both young men, that they as- 
certain the truth, and St. Pauls and Hemy gravitate to their 
proper places. 



THE YANKEE PEDDLEK ; 
OR, OLD TIMES Iff YI R GISTI A. * 
A Farce in One Act, by Morris Barnett. 

Time in representation, forty-Jive minutes. 

Scene I. — House u. e. b. House u. e. l. Sign over door of house l. — " Good 
Enter tainment for Man and Beast." Fence or paling round house, u. e. r., and 
running offs. e. jr. Wicket gate in paling in front of house door e. Landscape 
backing. 

Scene II. — A front chamber. French window, c, backed ly exterior. 
Scene III. — Wood. Part of the race-course seen. Hope running through 
posts at back. 

CHARACTERS. 

Heram Dodge {the Yankee Peddler). Pompet (a Negro). 

Squike Fuller. Cov/pens (the Landlord). 

Charles Harris. Miss Maria Fuller. 

Slingsby . Jebush a ( a Help ) . 

Jennings. Dinah (a Negress). 

Costumes, Modern. 

This is a boisterous farce, and describes the adventures of Hiram 
Dodge, a dealer in wooden nutmegs, etc., on a Southern planta- 
tion. Full of impudence and assurance, he gets everything and 
everybody by the ears, and does a good stroke of business at the 
same time. His courtship is very amusing. The other charac- 
ters are fairly good, but the success of the piece will depend upon 
the Yankee Peddler. 



CLASSIFIED INDEX OF PLAYS. 



* * * The figure following the name of the play indicates the number of acts ; the fig- 
ures in the first and second columns indicate the number of characters— M., male; 
F., female— and the figures in the third column, the page in which the analysis of the 
play will be found. 



ONE CHARACTER. 

M. F. Pge 

Broken Seal, The 1 l 26 

Going Through Him 1 10 65 

Juliet's Love-Letter 1 1 89 

Locked Door, The 1 1 98 

Our Professor 1 1 131 

Those " Cussed" "Waves 1 1 176 

Thoughts Before Marriage 1. . . 1 177 

Tittlebat a Father 1 1 179 

TWO CHARACTERS. 
Antony and Cleopatra Married 

and Settled 1 1 1 16 

Bachelor's Bed-Room, The 1... 2 22 

Cousin to them All, A 1 1 1 40 

Fair Encounter, A 1 2 55 

-Happy Pair, A 1 1 1 09 

Love to Music 1 2 101 

T .yrical Lover, A 1 1 1 105 

'ale and Female 1 1 106 

masquerading for Two 1 1 1 107 

Oh! My Uncle 1 2 124 

On an Island 1 1 1 125 

Picking up the Pieces 1 1 1 139 

Snapping Turtles 1 1 1 171 

Wild Flowers 1 1 1 200 

Woman Will be a Woman, A 1. 1 1 202 

THREE CHARACTERS. 

Esthetic Cousin, The 1 2 1 14 

Bric-a-Brac 1 2 1 29 

Carried by Assault 1 2 1 33 

Delicate Ground 1 2 1 48 

Dutchman in Ireland 1 3 51 

Hurrah for Paris 1 2 1 78 

Married Widows, The 1 1 2 107 

Medical Man, A 1 2 1 108 

My Uncle's Willi 2 1 120 

Our Bitterest Foe 1 2 1 128 

Pet Lamb, The 1 1 2 139 

Silent Woman, A 1 2 1 166 

Six Months Ago 1 2 1 170 

That Dreadful Doctor 1 2 1 176 

Too Windy for an Umbrella 1.. 1 2 182 

FOUR CHARACTERS. 

Betsy Baker 1 2 2 25 

Betsy's Profile 1 2 2 25 

Champagne 1 2 2 33 

Childhood's Dreams 1 2 2 38 

Cross Purposes 1. . 2 2 42 

Dark Deeds 3 2 2 44 

Dawn of Love, The 1 2 2 47 

Fireside Diplomacy 1 2 2 58 

Follow the Leader I'. 13 59 

Gray Mare, A 1 2 2 67 

Irresistibly Impudent 1 3 1 86 

Last Lily, The 1 3 1 93 

Lucy's Love Lesson 1. , 2 2 103 

Miseries of Human Life, The 1. 2 2 111 

Not False, but Fickle 1 1 3 123 

One Must Marry 1 2 2 126 

Pipes and Perdition 1 2 2 140 

Romance Under Difficulties l.. 3 1 153 



Sweethearts 2. 



M. F. Pge 
2 2 175 



FIVE CHARACTERS. 

All's Fair in Love and War 3 

Area Belle, The 1 

Atchi 1 

Cool as a Cucumber 1. . 

Cross Purposes 1 

Done on Both Sides 1 

Furnished Apartments 1 

Happy Despatch, The 1 

He's a Lunatic 1 

His First Brief 1 

Inhuman 3 

Just Twenty Years Ago 1 

Little Change, A 1 

Little Sentinel, The 1 

Love Master— Love Man 3 

Love's Young Dream 1 

Maid of Honor 1 

Moasieur Pierre 3 

tk Our Relatives" 1 

Penelope Anne 1 

Perfection 1 

Poor Pillicoddy 1 , 

Result of a Nap. The 3 

Rosebud of Stinging - Nettle 

Farm 1 ... * 

Sentinel, The 1 

Silent Protector, The 1 

Slight Mistake, A 1 

Tragedy Transmogrified 3 

Trip to Cambridge, A 1 

Yirtue Victorious 3 

Whitebait at Greenwich 1 

Wild Flowers 1 

SIX CHARACTERS. 

Advice Gratis 1 

Animal Magnetism 3 

Anything for a Change 1 

Artist's stratagem, The 1 

Broken Hearts 3 

Captain of the Watch 1 

Crumpled Rose-Leaf, A 1 

Diplomacy 1 

Good for Nothing 1 

Hasty Conclusion, A 1 

I'll Tell Your Wife 1 

Irish Engagement, An 1 

Is the Man Mad? 3 

Jacobite, The 2 

Lesson in Love, A3 

Little Toddlekins 1 

Loan of a Lover 1 

Love 3 

Love Flower, The 1 

Matched but not Mated 1 

Mischievous Bob 1 

Nursey Chickweed 1 

Orange Blossoms 1 

Prison and Palace 2 

Private Inquiry, A 1. . , 



3 


1 


180 


3 


1 


189 


3 


2 


15 


3 


2 


18 


3 


2 


21 


3 


2 


38 


3 


2 


42 


3 


2 


50 


5 





62 


3 


2 


67 


3 


2 


73 


3 


2 


74 


3 
2 
3 


2 

3 


83 
89 
96 


3 


2 
2 


96 


2 




101 


3 


2 


102 


2 




106 


2 




113 


3 


2 


131 


4 


I 


137 






137 


" 











149 


4 


1 


154 




1 


162 


3 


2 


164 


o 


5 


170 




? 


182 












192 




o 


195 






200 


4 


2 


13 


4 


2 


16 


3 


3 


17 


3 


3 


18 


2 


4 


29 


4 


2 


31 


3 


3 


43 


5 


1 


49 


5 


1 


65 


5 


1 


70 


4 


2 


80 


4 


2 


85 


3 


3 


86 


3 


3 


87 


3 


3 


94 


3 


3 


97 


4 




97 


3 


3 


100 


2 


4 


100 


4 


2 


108 


6 





110 


4 


2 


123 


3 


3 


126 


4 


2 


144 


4 


2 


145 



INDEX, 



207 



M. F. Pge 



Ringdoves, The 1 4 2 149 

Bough Diamond 1 4 2 154 

Sir Dagobert and the Dragon 4. 5 1 169 

Stage-Struck Yankee, The 1 4 2 174 

Village Doctor, The 2 4 2 191 

Wearing of the Green 3 3 3 194 

Which is Which ? 1 3 3 195 

Why Did You Die ? 1 3 3 196 

Withered Leaves 1 4 2 201 

SEVEN CHARACTERS. 

Bailiff's Daughter, The 1 4 3 22 

Caught in His Own Toils 1 5 2 34 

Creatures of Impulse 1 4 3 40 

Daughter of the Stars, The 2.. . 4 3 44 

Dearest Mammal 4 3 48 

Dowager, The 1 4 3 50 

Fitzsymth of Fitzsmyth Hall 1. 5 2 58 

Foresight 2 4 3 60 

Girls of the Period 1 4 3 S3 

How to Settle Accounts with 

Your Laundress 1 5 2 76 

Ici on Parle Francais 1 3 4 79 

If I had a Thousand a Year 1 ... 4 3 80 

John Dobbs 1 5 2 88 

Ladies' Battle, The 3 5 2 91 

Lend Me Five Shillings 1 5 2 94 

Limerick Boy, The 1 5 2 95 

Lovely 1 3 4 102 

Money Makes the Man 1 4 3 113 

More Blunders than One 1 4 3 114 

My Friend in the Straps 1 5 2 118 

My Turn Next 1 4 3 119 

My Wife's Second Floor 1 4 3 120 

Nine Points of the Law 1 4 3 121 

Original, The 1 6 1 127 

Our Mary Anne 1 4 3 130 

Patches and Powder 1 4 3 135 

Quite at Home 1 '. 5 2 146 

Race Ball, The 1 6 1 147 

Sign of Affection, A 2 5 2 163 

Uncle Jack 1 3 4 186 

Who's Your Friend ? 2 4 3 196 

Wooing Under Difficulties 1 4 3 204 

EIGHT CHARACTERS. 

Beauty and the Beast 1 4 4 24 

Boots at the Swan 1 4 4 28 

Caste 3 5 3 32 

Child of Circumstances, The 3. . 5 3 37 

Fairy Freaks 3. . . 2 6 55 

Family Pictures 1 4 4 66 

Funnibone's Fix 1 6 2 61 

Husband to Order 2 5 3 78 

Irish Dragoon, The 1 5 3 84 

Katharine and Petruchio 1 5 3 90 

Meg's Diversion 2 5 3 109 

Mother and Child are Doing 

Weill 5 3 115 

Mrs. Sarah Gamp's Tea and 

Turn Out 1 4 4 11G 

My Precious Betsy 1 4 4 119 

Peculiar Position, A 1 5 3 136 

Plot and Passion 3 6 2 141 

Savings and Doings 1 5 3 155 

Tiger at Large, The 1 5 3 179 

Wonderful Woman, A 2 5 3 203 

NINE CHARACTERS. 

David Garrick 3 6 3 46 

Deaf as a Post 1 . 5 4 47 

Eligible Situation, An 1 3 6 53 

Happy Man 1 7 2 68 

Harvest Storm, The 1 9 69 

Jenny Lind at Last 1 8 1 88 

M. P. (Member of Parliament) 4 6 3 116 

No Song, No Supper l — . 5 4 122 



M. F. Pge 

Our Wife 2 7 2 132 

Persecuted Dutchman 1 6 3 138 

Porter's Knot, The 2. .. . 7 2 143 

Pygmalion and Galatea 3 5 4 145 

Silver Lining 3 :.. 4 5 167 

Three Temptations 1, 7 2 178 

Twice Killed 1 6 3 184 

Used Up 2 , 7 2 1S8 

Vermont Wool Dealer, The 1. , . 6 3 189 

War to the Knife 3 5 4 193 

TEN CHARACTERS. 

Ask no Questions 2 73 19 

Birthplace of Podgers, The 1... 7 3 26 

Busy Body 3 6 4 30 

Engaged 3 5 5 53 

Glass of Water 2 6 4 64 

Great Eastern, The 1 4 6 66 

Helping Hands 2 7 3 72 

Lost Heir, The 3 10 99 

Old Story, The 2 5 5 124 

Our Boys 3 6 4 128 

Regular Fix, A 1 6 4 153 

Single Life 3 5 5 167 

Three Grocers, The 2 5 5 177 

Tom Cobb 3 5 5 180 

Twenty and Forty 1 4 6 183 

Under the Laurels 5 6 4 187 

Village Belle, The 4 6 4 190 

Yankee Peddler l 7 3 205 

ELEVEN CHARACTERS. 

Babes in the Wood 3 8 3 21 

Charity 4 » 8 3 35 

Cousin Florence 2 4 7 39 

Fool's Revenge, The 3 7 4 69 

Getting Up in the World 1 8 3 62 

Heir-at-Law, The 5 , 8 3 71 

Lying in Ordinary 1 8 3 104 

Palace of Truth, The 3 6 5 133 

Partners for Life 3 7 4 134 

Rivals, The 5 7 4 150 

She Stoops to Conquer 5 7 4 164 

Sheep in Wolf's Clothing 1 7 4 165 

Soldier of Fortune, A 5 8 3 171 

Two Roses 3 7 4 185 

TWELVE CHARACTERS, 

Boarding School, The 1 7 5 27 

Changelings, The 3. .. 012 35 

Checkmate 2 7 5 35 

Dancing Barber, The 1 9 3 52 

Honeymoon , The 5 8 4 75 

Infatuation 4 8 4 81 

Randall's Thumb 3 8 4 148 

Scrap of Paper 3 6 6 161 

Wicked World, The 3 6 6 198 

Wife's Secret, The 5 9 3 197 

Women's Club, The 1 4 8 202 

THIRTEEN CHARACTERS AND 
UPWARDS. 

Bardell vs. Pickwick 1, 5 8 23 

Critic. The 2 7 6 41 

Fast Family, The 4 11 7 56 

Hunchback, The 5 12 2 77 

Ingomar 1 16 2 82 

Lady of Lyons, The 5...... 12 £ 92 

Money 5... 16 3 111 

My Awful Dad 3 9 6 117 

Poor Gentleman , The 3 11 4 141 

Road to Ruin, The 3... 9 4 151 

School 4 5 9 156 

School for Scandal 5 13 5 15? 

School for Scheming, The 5..... 7 8 158 

School for Tigers , The 1 . . „ 14 13 16a 

Speed the Plough 5 9 4 173 



SCENERY. 



With a view to obviate the great difficulty experienced by amateurs (par- 
ticularly in country houses) in obtaining scenery to fix in a drawing-room, 
and then only by considerable outlay for hire, and causing great damage to 
walls, etc., we have decided to keep a series of Scenes, etc., on strong paper, 
comprising Back Scene, Border and Wings, etc, which can either be joined 
together or pasted on canvas. 

^AHBE^ T - This consists of a Back Scene (or Flat), representing a land- 
scape, with mountains in the distance, and a lake at the foot of them, with 
wings and borders of foliage. It is kept in two sizes. The small size 
can be extended to 15 feet wide and 8 feet high, and the large size to 20 
feet long and 11% feet high. It is not necessary to have the scene the height 
of the room, as blue paper, to represent the sky, is usually hung from the 
top. Price, small, with Border and Wings, complete, $7.50.; large size, $10. 

W©OH. — This is similar in style to the above, only a wood scene is intro- 
duced in the centre. It is kept in two sizes, as the above, and the blue 
paper can be introduced, as before indicated. Price, small size, with 
Wings and Borders, complete, $7.50 ; large size, $10. 

FOOAGE. — This is a sheet of paper on which foliage is drawn, which 
can be repeated and cut in any shape required. Small size, 30 inches by 
20 inches, 25 cents per sheet ; large size, 40 inches by 30 inches, 35 cents per 
sheet. 

BKAWINS°EOOM. — This scene is kept in the large size only, to extend 
to 20 feet long and 11 Y z feet high. In the centre is a French window, lead- 
ing down to the ground, which could be made practicable if required. On 
the left wing is a fire-place, with mirror above, and on the right wing is an 
oil painting. The whole scene is tastefully ornamented and beautifully 
colored, forming a most elegant picture. Should a Box Scene be required, 
extra wings can be had, consisting of doors each side, which could be made 
practicable. Price, with Border and one set of Wings, complete, $10.00 ; 
with Border and two sets of Wings, to form Box Scene, $12.50. 

COTTAGE OTERIOR,-The same size as the previous scene. In the 
centre is a door, which can be made practicable if necessary. On the left 
centre is a rustic fire-place, and right centre is a window, which can also be 
made practicable; on the wings are painted shelves, etc., to complete the 
scene. A Box Scene can be made by purchasing extra Wings, as described 
above, and forming doors on each side. Price, with Border and one set of 
Wings, $10.00 ; with Border and two sets of Wings, to form Box Scene, 
$12.50. 

POOKSo — These comprise three sheets of paper each, and can be had for 
either Drawing-Room or Cottage purposes. Size 7 feet by 3 feet. Price, com- 
plete, $1.25 each. 

WIl¥15l>Wl§ 9 — This is a Parlor Window, formed with two sheets of paper, 
and could be made practicable, to slide up and down. The introduction of 
curtains each side would make it effective. Size, 3 feet by 4>£ feet. Price, 
complete, $1.00 each. 

F1R12-PLACE* — This is also made with two sheets of paper. The fire 
is lighted; but should this not be required, a fire-paper can be hung over it. 
It will be found most useful in farces wherein a character has to climb up a 
chimney, and in many plays where a fire-place is indispensable. Size, 
3 feet by 4>£ feet. Price, complete, $1/25. 

*** By purchasing a Door, a Window, and a Fire-place, an ordinary room 
scene could easily be constructed with the addition of some wall-paper. 



FULL DESCRIPTIONS ACCOMPANY EACH SCENE, 



Sent by Express on receipt of price, by 

B0QBBACH & CO.? No 8 Murray Street, New York. 



THEATRICAL FACE PREPARATIONS. 

We would call the attention of our customers to the fact that all the preparations 
here advertised are the best manufactured ; they are all imported by us direct from 



Paris, and are warranted to be perfectly harmless. They are all ready to use. 

Rou.^e (Rouge de Peree) in neat box, 30 Cts. 

Roug'e, finest quality, made from flowers, perfumed 4© " 

White (Blanc de Peree) 3© " 

White, finest quality 4© " 

Pencils for the eyelids and eyebrows, Black or Brown 3© " 

Pencils for the veins (Crayon d'ltalie) 3© " 

Grenadine for the lips, gives them a fine color and improves the entire 

countenance 4© " 

Tablettes de Jouvence, a small box of rouge or white 25 " 

Boxes of Blue for Veins, with a stamp used in putting on 75 " 

Fard Indien, used for eyebrows and eyelids, very effective ^5 " 

Carmine. For the face and to heighten the effect of the Burnt Cork 

in Negro characters. A most brilliant color. . 3© '* 

Chrome. For sallow complexion, also for lightening the eyebrows, mous- 
tache, etc 25 " 

Prepared Dutch Pink. For pale, sallow, and wan complexions. 25 " 

Email TS T oir. To stop out teeth for old men characters, witches, etc 4© " 

Ruddy Rousre. For sunburnt faces. Most essential for low comedy, 

country or seaman's characters 3© " 

Mascaro or Water Cosmetique. For darkening the eyebrows, and 
moustaches without greasing them and making them prominent. A most 
useful article. In neat case with looking-glass and ebony brush complete. It 
can be applied by wetting in cold or warm water. Brown, Black or Blonde . . 75 " 

Spirit Gum. The best in use, prepared expressly for securing the 
Moustaches. Whiskers, Crape Hair, etc., etc. Will adhere strongly in the 

hottest weather. . 3© " 

Prepared Fuller's Earth. To powder the face before "making-up". .. 30 " 

Joining Paste. For joining bald fronts of wigs to the forehead 3© " 

Paste Powder. To enlarge the shape of the nose, for low cOmedy char- 
acters, etc. In elegant box 3© " 

Miniature Puffs* For applying powders to the delicate parts of the 
Face, per pair 25 " 



BURNT CORK, MONGOLIAN, ROUGE, WHITING, Etc. 



Prepared Burnt Cork. For Negro Minstrels, Masquerades, Taubleaux, etc. 

Price, per box $©.4© 

Per Half Pound LOO 

Per Pound 1.75 

Mongolian. A preparation for making up Indians. Mulattoes, Moors, Chinese, 

Japanese, etc. Price, per box . 3© 

Dry Rou^e. Indispensable in "making up" the face. Price, per box 3© 

Prepared Whiting. In a paste, for Pantomimes, Statuary, Clown Faces, etc.. 

Prepared by a special process, is not affected by perspiration. Price, per box. . 30 

Lip Rouge. Very effective and perfectly harmless 3© 



Sent by Mail on receipt of price, by 

ROORBACH & CO., 

No. 9 Murray street, New York. 



Theatricals anb Tableaux tats m km. 

GIVING FULL DIRECTIONS AS TO 

STAGE ARRANGEMENTS, " MAKING-UP," COSTUMES, 
AND ACTING. 

WITH NINETY-TWO ILLUSTRATIONS. 
PRICE, 30 CENTS. 




Giving Directions for Arranging, Decorating and Lighting the 
Stage, Painting the Scenery, Making-up, Preparing the 
Costumes, Mounting, Selecting, Rehearsing 
and Performing the Plays. 

TO WHICH IS ADDED 

An Operetta, 3 Comedies, 2 Charades and 10 Tableaux. 

PR ICE, 25 CEN TS. 

OR, THE ART OF "MAKING-UP." 

Being a Practical Guide to Beginners in the Difficult Art of " Mak- 
ing-Upland " Wigging" the Human Face and Head Correctly, 
embracing all the Phases of Life and Character, from 
Ambitious Youtli to Decrepid Old Ag^e. 
WITH SIXTEEN ILLUSTRATIONS. 
PRICE, 25 CENTS. 




Containing Jarley's Wax Works, An Acting Charade, A Dramatic 
Proverb, A Pantomime, A Christmas Play for Little Folks, Five 
Tableaux, and Sixteen Parlor Games and Amusements. 

PRICE, 15 CENTS; 




A Collection of Yankee, Dutch, French, Irish, and Ethiopian 
Stump Speeches and Recitations, Burlesque Orations, Laugh- 
able Scenes, Humorous Lectures, Button-Bursting Witti- 
cisms, Ridiculous Drolleries, Funny Stories, etc., etc. 

PR8CE, (5 CENTS. 

Sent by mail, on receipt of the price, by 

E00RBA0H & CO., TCo, 9 Murray Street, New York, 



